By Artist / Manufacturer
By Artist / Manufacturer
By Label / Make
By Genre / Model
- Lowest Price
- Highest Price
Queen Vinyl Box Set'
Queen: The Studio CollectionColored Vinyl Exclusive To The Box Set
All 15 Hit Studio Albums Sourced From The Original Master Tapes
Mastered By Bob Ludwig
Half-Speed Lacquers Cut At Abbey Road Studios
Pressed On Heavyweight 180 Gram Colored Vinyl
Includes A Lavishly Illustrated 108 Page Hardback Book
15 albums. 18 discs? What's the story?
Queen always had a special fondness for vinyl, the medium in which they first began to create, around 1970. As a matter of principle, every Queen studio album was offered at the time of original release on vinyl, even well into the era when CD's had taken over as the medium of choice for most of the public. However, the final two albums, 'Innuendo' and 'Made In Heaven' were actually formatted primarily with the CD in mind, with a longer running time, so the contents had to be edited down to fit them on to the two sides of a vinyl album. Now, specially for this edition, for the first time, these two albums have been cut at full length as double vinyl LP's - four sides each - making up a vinyl set that is complete in every way.
The box-set offers many other special features. Most noticeable is the coloured vinyl: designed for collectors, each album has been given a different colour, in keeping with its original artwork, giving a unique record-deck experience. The colour discs have been custom-produced especially for this set, using new material technology which ensures the sound quality is uncompromised.
There are more surprises in the box set; 'Queen II' originally never had a designated 'A side' or 'B side' - but 'Side White' and 'Side Black'. For this new edition, the album has been cut on two separate discs, black and white, each with a custom etching on the reverse side, a nice bonus for collectors.
The collection has been five years in the making. Throughout this time Queen's production team has worked extensively on all stages of this painstaking mastering process. The first step was the tape research; locating and confirming the correct versions and best sources for all tracks. Most notably, Under Pressure, plus five tracks on the 'Innuendo' album, were improved hugely after the discovery of better sources during this period. Particular attention was paid to the original releases to ensure that nothing was lost or changed for the worse by reverting to earlier sources.Queen
1. Keep Yourself Alive
2. Doin' All Right
3. Great King Rat
4. My Fairy King
6. The Night Comes Down
7. Modern Times Rock 'n' Roll
8. Son and Daughter
10. Seven Seas of Rhye (instrumental)
Queen II (2 LP)
2. Father To Son
3. White Queen (As It Began)
4. Some Day One Day
5. The Loser in The End
6. Ogre Battle
7. The Fairy Feller's Master-Stroke
9. The March of the Black Queen
10. Funny How Love Is
11. Seven Seas of Rhye
Sheer Heart Attack
1. Brighton Rock
2. Killer Queen
3. Tenement Funster
4. Flick Of the Wrist
5. Lily of the Valley
6. Now I'm Here
7. In the Lap of the Gods
8. Stone Cold Crazy
9. Dear Friends
11. Bring Back That Leroy Brown
12. She Makes Me (Stormtrooper in Stilettos)
13. In the Lap of the Gods...Revisited
A Night At the Opera
1. Death on Two Legs (Dedicated to...)
2. Lazing On A Sunday Afternoon
3. I'm In Love With My Car
4. You're My Best Friend
6. Sweet Lady
7. Seaside Rendezvous
8. The Prophet's Song
9. Love Of My Life
10. Good Company
11. Bohemian Rhapsody
12. God Save the Queen (instrumental)
A Day At the Races
1. Tie Your Mother Down
2. You Take My Breath Away
3. Long Away
4. The Millionaire Waltz
5. You and I
6. Somebody To Love
7. White Man
8. Good Old Fashioned Lover Boy
10. Teo Torriatte (Let Us Cling Together)
News Of the World
1. We Will Rock You
2. We Are The Champions
3. Sheer Heart Attack
4. All Dead, All Dead
5. Spread Your Wings
6. Fight From the Inside
7. Get Down, Make Love
8. Sleeping On the Sidewalk
9. Who Needs You
10. It's Late
11. My Melancholy Blues
2. Fat Bottomed Girls
4. Bicycle Race
5. If You Can't Beat Them
6. Let Me Entertain You
7. Dead On Time
8. In Only Seven Days
9. Dreamer's Ball
10. Fun It
11. Leaving Home Ain't Easy
12. Don't Stop Me Now
13. More of That Jazz
1. Play the Game
2. Dragon Attack
3. Another One Bites the Dust
4. Need Your Loving Tonight
5. Crazy Little Thing Called Love
6. Rock It (Prime Jive)
7. Don't Try Suicide
8. Sail Away Sweet Sister
9. Coming Soon
10. Save Me
Flash Gordon Soundtrack
1. Flash's Theme
2. In the Space Capsule (The Love Theme)
3. Ming's Theme (In the Court of Ming the Merciless)
4. The Ring (Hypnotic Seduction of Dale)
5. Football Fight
6. In the Death Cell (Love Theme Reprise)
7. Execution of Flash
8. The Kiss (Aura Resurrects Flash)
9. Arboria (Planet of the Tree Men)
10. Escape From the Swamp
11. Flash to the Rescue
12. Vultan's Theme (Attack of the Hawk Men)
13. Battle Theme
14. The Wedding March
15. Marriage of Dale and Ming (and Flash Approaching)
16. Crash Dive on Mingo City
17. Flash's Theme Reprise (Victory Celebrations)
18. The Hero
1. Staying Power
3. Back Chat
4. Body Language
5. Action This Day
6. Put Out the Fire
7. Life Is Real (Song for Lennon)
8. Calling All Girls
9. Las Palabras de Amor (The Words of Love)
10. Cool Cat
11. Under Pressure (with David Bowie)
1. Radio Ga Ga
2. Tear It up
3. It's A Hard Life
4. Man On the Prowl
5. Machines (Or Back to Humans)
6. I Want To Break Free
7. Keep Passing the Open Windows
8. Hammer to Fall
9. Is This the World We Created...?
A Kind of Magic
1. One Vision
2. A Kind of Magic
3. One Year of Love
4. Pain Is So Close to Pleasure
5. Friends Will Be Friends
6. Who Wants To Live Forever
7. Gimme the Prize (Kurgan's Theme)
8. Don't Lose Your Head
9. Princes of The Universe
2. Khashoggi's Ship
3. The Miracle
4. I Want It All
5. The Invisible Man
7. Rain Must Fall
9. My Baby Does Me
10. Was It All Worth It
2. I'm Going Slightly Mad
4. I Can't Live With You
5. Ride the Wild Wind
6. All God's People
7. These Are the Days of Our Lives
9. Don't Try So Hard
10. The Hitman
12. The Show Must Go On
Made In Heaven (2LP)
1. It's A Beautiful Day
2. Made In Heaven
3. Let Me Live
4. Mother Love
5. My Life Has Been Saved
6. I Was Born To Love You
7. Heaven For Everyone
8. Too Much Love Will Kill You
9. You Don't Fool Me
10. A Winter's Tale
11. It's A Beautiful Day (reprise)
12. Yeah$445.00180 Gram Audiophile Virgin Vinyl LP Box Set - 18 LPs Sealed Buy Now
The Queen Is Dead (Box Set)Ranked 216/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Widely considered to be both The Smiths' finest work and one of the greatest albums ever made, 'The Queen Is Dead' has cast a significant influence over subsequent generations since it was first released in the summer of 1986. Now Warner Bros. Records can confirms the details of a newly mastered and expanded version of the album.
The album features several of the band's finest moments including the title track and 'There Is A Light That Never Goes Out', as well as the iconic singles 'The Boy With The Thorn In His Side' and 'Bigmouth Strikes Again'.
You cannot continue to record and simply hope that your audience will approve, or that average critics will approve, or that radio will approve, says Morrissey. You progress only when you wonder if an abnormally scientific genius would approve - and this is the leap The Smiths took with The Queen Is Dead.
Johnny Marr adds, The Queen Is Dead was epic to make and epic to live.
5LP Vinyl Boxset - featuring the 2017 master of the album, additional recordings and the 'Live In Boston' recording. Housed in lift off box with 2 double gatefolds and 1 single.Original Album - 2017 Remaster
1. The Queen Is Dead
2. Frankly, Mr. Shankly
3. I Know It's Over
4. Never Had No One Ever
5. Cemetry Gates
6. Bigmouth Strikes Again
7. The Boy With The Thorn In His Side
8. Vicar In A Tutu
9. There Is A Light That Never Goes Out
10. Some Girls Are Bigger Than Others
1. The Queen Is Dead (Full Version)
2. Frankly, Mr. Shankly (Demo)
3. I Know It's Over (Demo)
4. Never Had No One Ever (Demo)
5. Cemetry Gates (Demo)
6. Bigmouth Strikes Again (Demo)
7. Some Girls Are Bigger Than Others (Demo)
8. The Boy With The Thorn In His Side (Demo Mix)
9. There Is A Light That Never Goes Out (Take 1)
10. Rubber Ring (B-side)
11. Asleep (B-side)
12. Money Changes Everything (B-side)
13. Unloveable (B-side)
Live In Boston (Previously Unreleased)
1. How Soon Is Now?
2. Hand In Glove
3. I Want The One I Can't Have
4. Never Had No One Ever
5. Stretch Out And Wait
6. The Boy With The Thorn In His Side
7. Cemetry Gates
8. Rubber Ring/What She Said/Rubber Ring
9. Is It Really So Strange?
10. There Is A Light That Never Goes Out
11. That Joke Isn't Funny Anymore
12. The Queen Is Dead
13. I Know It's Over$99.99Vinyl LP Box Set - 5 LPs Sealed Buy Now
News Of The World (40th Anniversary Box Set)
Pure Analogue Re-Cut Of The Original Vinyl LP, Direct From The Unmastered Analogue Master Mix Tapes
Presented In A Facsimile Original Sleeve
Three Posters And A 60-page Book Of Images
Original Album On CD, Plus Two Further CDs Of Recently Unearthed Out-Takes And Rarities From The Band's Archives
Brand New One-Hour DVD Documentary, Queen : The American Dream
A special box set of Queen's landmark 1977 album News of the World is set for release, marking the 40th anniversary of the original release.
Originally launched in October 1977, News of the World is one of Queen's biggest selling albums of all time. It opens with two of the band's most indestructible worldwide hits, the Brian May-penned We Will Rock You and Freddie Mercury's We Are The Champions, monumental stadium anthems which remain a staple of major sporting events all around the world to this day. With songs written by all four band members, NOTW, Queen's sixth album, set a new standard in stylistic diversity, from Roger Taylor's proto-punk blast of Sheer Heart Attack to the salacious funk-rock groove workout Get Down Make Love, to the fragrant tropical calypso-pop Who Needs You. News of the World also features the hit Spread Your Wings, the epic rock saga It's Late and Freddie's wistfully romantic My Melancholy Blues.
The new package includes the original album on CD, plus two further CDs of recently unearthed out-takes and rarities from the band's archives, one of which is a newly created 'alternative' version of the whole album - Raw Sessions.
For many Queen devotees, this Raw Sessions CD will be the most intriguing component of the new release. Mined deep from long-vaulted studio multi-track tapes, this extraordinary parallel album brings to light never-before-heard alternative versions of each of the album's 11 tracks. Every lead vocal is different, as are most of the lead guitar parts and a great many other instrumental details. Here we experience We Are The Champions anew, with many unfamiliar vocal and instrumental elements, and for the first time at its full-recorded length rather than the edited 1977 album cut. Here also is the chance to discover peak era Freddie Mercury vocals on a track that nobody outside Queen's inner circle has heard him sing before at all - Brian May's All Dead, All Dead. The original album version features May himself on vocals. Roger Taylor's Sheer Heart Attack can be heard with its original long-lost guitar intro and uncut ending. Taylor's other song, Fight From The Inside, is more remarkable in that we hear his demo vocal worked on in his home studio in preparation for the next sessions, 'homework' that all of the band members would regularly carry out. As a point of note, Taylor plays all instruments on these two recordings, except for some lead guitar. In this age of digital leaks and obsessive fan culture, there is already great excitement that these recordings are, in 2017, truly New to the World.
The third CD in the package, Bonus Tracks, features a feast of previously released but hard-to-find versions of News of the World tracks recorded in concert, for radio shows, or in alternate mixes. Included is the band's entire five-song final live session recorded for BBC Radio in October 1977, seven live performances of NOTW songs, plus rare backing tracks and instrumentals of the Queen classics We Will Rock You, We Are The Champions, Spread Your Wings, Get Down, Make Love and Fight From The Inside. Also on this third disc is the seldom-heard US radio edit of It's Late, making its belated CD debut, and the rowdy stomper Feelings Feelings, which was recorded during the original NOTW sessions but not included on the final album.
Another outstanding feature of this weighty 40th anniversary box is another first - a pure analogue re-cut of the original vinyl LP, direct from the unmastered analogue master mix tapes. This exceptional album collector's piece is presented in a facsimile original sleeve. There is also a rich selection of NOTW related memorabilia including three posters and a 60-page book of images, mostly previously unseen.
The package is completed with a brand new one-hour DVD documentary, Queen : The American Dream, created from backstage material filmed during Queen's 1977 USA News of the World tour. In November that year, Queen embarked on another headlining US tour. The highly respected British radio and TV presenter Bob Harris, complete with full film crew, followed their journey as part of a proposed documentary that has remained incomplete and unreleased - until now. The crew had unlimited access to the band on and off stage, in the recording studio and during rehearsals. This one-hour documentary includes superb live footage of Queen at the Houston Summit in December. We also see moments from the birth of We Will Rock You and We Are The Champions, songs that would both earn a place in the Grammy Hall of Fame. Queen : The American Dream is a fascinating behind-the-scenes insight into a young British band at a creative peak, defying the odds as they take the USA by storm.
For casual fans and Queen connoisseurs alike, the new NOTW package, with its feast of extra material, is manna from Heaven - a bumper haul of buried treasure from a world-beating band in its prime.VINYL LP: The Original News of the World Album - new Pure Analogue Cut
1. We Will Rock You (May)
2. We Are The Champions (Mercury)
3. Sheer Heart Attack (Taylor)
4. All Dead, All Dead (May)
5. Spread Your Wings (Deacon)
6. Fight From The Inside (Taylor)
7. Get Down, Make Love (Mercury)
8. Sleeping On The Sidewalk (May)
9. Who Needs You (Deacon)
10. It's Late (May)
11. My Melancholy Blues (Mercury)
CD 1: The Original Album (Bob Ludwig 2011 master)
1. We Will Rock You (May)
2. We Are The Champions (Mercury)
3. Sheer Heart Attack (Taylor)
4. All Dead, All Dead (May)
5. Spread Your Wings (Deacon)
6. Fight From The Inside (Taylor)
7. Get Down, Make Love (Mercury)
8. Sleeping On The Sidewalk (May)
9. Who Needs You (Deacon)
10. It's Late (May)
11. My Melancholy Blues (Mercury)
CD 2: NEWS OF THE WORLD : RAW SESSIONS
1. We Will Rock You (Alternative Version)
2. We Are The Champions (Alternative Version)
3. Sheer Heart Attack (Original Rough Mix)
4. All Dead, All Dead (Original Rough Mix)
5. Spread Your Wings (Alternative Take)
6. Fight From The Inside (Demo Vocal Version)
7. Get Down, Make Love (Early Take)
8. Sleeping On The Sidewalk (Live in the USA, 1977)
9. Who Needs You (Acoustic Take)
10. It's Late (Alternative Version)
11. My Melancholy Blues (Original Rough Mix)
CD 3: NEWS OF THE WORLD : BONUS TRACKS
1. Feelings Feelings (Take 10, July 1977)
2. We Will Rock You (BBC Session)
3. We Will Rock You (Fast) (BBC Session)
4. Spread Your Wings (BBC Session)
5. It's Late (BBC Session)
6. My Melancholy Blues (BBC Session)
7. We Will Rock You (Backing Track)
8. We Are The Champions (Backing Track)
9. Spread Your Wings (Instrumental)
10. Fight From The Inside (Instrumental)
11. Get Down, Make Love (Instrumental)
12. It's Late (USA Radio Edit 1978)
13. Sheer Heart Attack (Live in Paris 1979)
14. We Will Rock You (Live in Tokyo 1982)
15. My Melancholy Blues (Live in Houston 1977)
16. Get Down, Make Love (Live in Montreal 1981)
17. Spread Your Wings (Live in Europe 1979)
18. We Will Rock You (Live at the MK Bowl 1982)
19. We Are The Champions (Live at the MK Bowl 1982)
DVD: QUEEN : THE AMERICAN DREAM (One hour)$149.99Vinyl LP + 3 CD + DVD Box Set - Sealed Buy Now
Forever (Box Set)
Limited Edition 4 LP Box Set
Includes Additional Bonus 12" Single Of William Orbit Mix Of "Let Me In Your Heart Again"
Having in the three months since its original release already provided Queen with their twenty fifth top ten album and twenty sixth UK gold album, Queen's current best selling compilation package Queen Forever is to receive a special limited edition vinyl release coming this spring.
The original 36 track 2 CD Queen Forever release will now be made available as a strictly limited 4 LP vinyl box set which includes an additional 12" single bonus disc exclusive to the set featuring a special William Orbit mix of the only recently heard Freddie Mercury track "Let Me In Your Heart Again".
The Orbit mix was held back from the Forever CD release and only surfaced for a limited period to support the Coca-Cola (RED) AIDS awareness campaign mounted at the tail end of last year.
The B side of the 12" single has a further bonus feature exclusive to this box set - a laser etching of the box set cover illustration.
Distinguishing itself as the first Queen album to feature new Freddie Mercury led tracks since the band's 1995 Made In Heaven album, Queen Forever brings out into the light the long anticipated track from Queen and Michael Jackson, 'There Must Be More to Life Than This', an unfinished Mercury-Queen track 'Let Me In Your Heart Again' originating from the band's The Works album recording sessions (featured on this vinyl package in a newly available William Orbit mix) and a new ballad version of Mercury's first solo hit, his Giorgio Moroder collaboration, 'Love Kills', which is currently being heavily played at UK and European radio.
The rest of the package mixes Queen hits, classic tracks and celebrates the extraordinary musical path of one of the world's greatest rock bands. Reaching back as far as 1974 with fan favourite Nevermore, a Freddie Mercury song originally included on Queen II, Queen Forever progresses to feature songs that spotlight the band's songwriting prowess, studio experimentation and remarkable development, and is completed with latter-day Queen hits, including '91's no. 1 These Are The Days Of Our Lives and '95's Too Much Love Will Kill You, together with the poignant A Winter's Tale, recorded during Freddie Mercury's final Queen recording sessions in Montreux in 1991.
Queen Forever is a thrilling showcase for exclusive new Queen recordings but equally as much a paean to the extraordinary musical achievements of John Deacon, Brian May, Roger Taylor and the late Freddie Mercury, whose singular talent we again get to marvel at through this meticulously presented 36 track collection.LP 1
1. Let Me In Your Heart Again
2. Love Kills - the ballad
3. There Must Be More To Life Than This (William Orbit Mix)
4. Play The Game
5. Dear Friends
6. You're My Best Friend
7. Love Of My Life
9. You Take My Breath Away
10. Spread Your Wings
1. Long Away
2. Lily Of The Valley
3. Don't Try So Hard
5. These Are The Days Of Our Lives
7. Las Palabras De Amor
8. Who Wants To Live Forever
9. I Was Born To Love You
1. Somebody To Love
2. Crazy Little Thing Called Love
3. Friends Will Be Friends
5. One Year of Love
6. A Winter's Tale
8. Mother Love
1. It's A Hard Life
2. Save Me
3. Made In Heaven
4. Too Much Love Will Kill You
5. Sail Away Sweet Sister
6. The Miracle
7. Is This The World We Created ?
8. In The Lap Of The Gods Revisited
Bonus 12" Single
1. Let Me In Your Heart Again (William Orbit Mix)
Queen Forever Etching$79.99180 Gram Audiophile Virgin Vinyl LP + 12 Single - 4 LPs Sealed Buy Now
Deeper (Box Set) (Awaiting Repress)Deluxe Box Set (Includes CD, 2x Vinyl, T-Shirt (L), Poster & 3x Photo Cards)
Hearing Lisa Stansfield sing takes you back. In the late '80s and throughout the '90s, the smiley singer with the Elsie Tanner accent was the coolest pop star on the planet. Her seductive, soulful vocals and timeless dance-pop songs saw her top the charts on both sides of Atlantic, duet with George Michael and Queen, win multiple Brits and Ivor Novello awards, collect Grammy nominations and feature on "The Bodyguard", the biggest-selling film soundtrack of all time. Four albums were international hits, selling more than 15 million copies and spawning over 20 hit singles, yet Stansfield was never interested in fame. The pop-soul lady's latest album "Seven" - released four years ago and a gorgeous collection of her trademark soul - charted top 13 in both the UK and Germany and served as a reminder of why the artist has sold nearly 20 million records worldwide. With international hits such as "All Around The World", "The Real Thing" or "Treat Me Like A Woman", Lisa Stansfield has forced people on the dance floor for decades and still does!
On "Deeper", the Grammy-nominated, multi BRIT winning artist challenges herself without compromising her signature blend of pop, jazz, dance, Motown and northern soul. "Deeper" showcases some brand new signature Lisa songs, like the club-oriented "Everything" but at the same time shows the British queen of white soul in a more melodic light with tracks such as "Billionaire". This smoothly interlocking selection of songs is carried by Stansfield's bulky and multifaceted voice, a voice which has brought her worldwide recognition and praise. The album features funky groovy disco tracks, well-tempered soul-pop ballads, as well as laid-back easy-listening songs. This comes together into a well-crafted blend which sounds as strong-willed as Lisa Stansfield has proven to be.1. Everything
5. Coming Up for Air
6. Love of My Life
7. Never Ever
9. Hole in My Heart
10. Just Can't Help Myself
13. Ghetto Heaven$59.99Vinyl LP Box Set + CD - 2 LPs Sealed AWAITING REPRESS Buy Now
Freddie Mercury: Messenger Of The Gods - The Singles (Box Set)Box Set Features 13 x 7" Singles On Colored Vinyl
Includes Booklet Featuring Previously Unpublished Photos
Freddie Mercury was a man of many talents and many different sides. The songs he wrote for and with Queen filled stadiums around the globe and have rightly gone down in history, but he also embarked on a solo career that took him from the clubs of Munich and New York to the great opera houses of the world.
He was the ultimate showman, but he kept his private life away from the prying eyes of the media; a larger than life rock star who loved disco, classical music and ballet. He was a restless spirit, a true chameleon who reveled in his own contradictions.
All the different sides of this iconic musician can be found on Freddie Mercury: Messenger Of The Gods - The Singles. Fittingly released on Mercury Records for the world outside North America, and on Hollywood Records in North America, this box set brings together all 13 of Freddie's solo singles on individually coloured vinyl.
From his debut solo single I Can Hear Music, released under the name Larry Lurex, through the dance floor-influenced solo anthems of the 80s and up to his collaborations with legendary Spanish opera singer Montserrat CaballÉ including the timeless Barcelona, this is a journey through the career of a unique talent.
Born Farrokh Bulsara on the East African island of Zanzibar on September 5, 1946, the rechristened Freddie Mercury was already a star in his own mind by the time he formed Queen with Brian May and Roger Taylor in 1970. Where his band mates had studied astrophysics, dentistry and electronics at college, Freddie majored in stardom.
His first solo single actually emerged a week before Queen's own debut 7". Released in 1973 and credited to Larry Lurex in a nod to the fashionably flamboyant noms de rock of the glam era, the Beach Boys cover I Can Hear Music and its B-side, Goin' Back, were recorded as a favour towards a musical project by Trident Studios' house engineer Robin Geoffrey Cable, in 1972.
As Queen's career rocketed towards the heavens, Freddie poured his energies into the band. It would be more than a decade before he released his second solo single, the pulsating, electronic Love Kills. Originally released in 1984, Love Kills was a collaboration with famed Italian disco producer Giorgio Moroder for the soundtrack to Moroder's update of the groundbreaking 1927 silent movie Metropolis. A Top 10 UK hit, it found Freddie moving away from Queen's traditional sound, paving the way for what he would do next.
Released in 1985, Freddie's debut solo album, Mr Bad Guy, fully explored the music he had fallen in love with in the dance clubs of Munich and New York. The four hit singles released from that album - I Was Born To Love You, Made In Heaven, Living On My Own and Love Me Like There's No Tomorrow, all of which are included in the Messenger Of The Gods box set - crackled with playfully hedonistic energy, but they also hid a more serious side to Freddie. Here was a man who craved the good times but wanted something deeper as well.
Within two years, he had abandoned the sound of the clubs for the music of the opera house - though not before releasing both the epic single Time, the theme to the lavish stage musical of the same name produced by Dave Clark, and his outrageous (and strangely revealing) Top 5 cover of The Platters' 1965 hit, The Great Pretender.
In 1987, he dived headlong into the world of opera and classical music with the towering single, Barcelona. A duet with legendary Spanish soprano Montserrat CaballÉ, an idol of Freddie's, it came about after the opera star asked him to write a song about her home town.
Barcelona remains one of the most momentous hit singles not just of Freddie's career but in pop history. Not only did it lead to an album of collaborations between these two huge talents, but the title track was also chosen as the official anthem of the 1992 Olympics. That song, together with the two other singles taken from the album, The Golden Boy and How Can I Go On, are all included as part of Messenger Of The Gods with their original B-sides.
In October 1988 Freddie and Montserrat were invited by the King and Queen of Spain to perform Barcelona on the steps of Barcelona's National Palace of Montjuic at the open air La Nit festival which was staged to mark the arrival of the Olympic Flag from Seoul.
But sadly, Freddie would not live to see the fruits of his collaboration with Montserrat CaballÉ showcased at the Barcelona Olympics. He passed away on November 24, 1991, just seven months before the Games took place. The grand opening ceremony was a fitting tribute to a man who thrived on spectacle.
Messenger Of The Gods is completed by two posthumous singles, In My Defence and Living On My Own (No More Brothers Radio Mix), the latter of which became Freddie's first solo number 1 and was the biggest selling European single of the year in 1993.
Had he lived, it is anyone's guess where this most restless and protean of singer's muses would have taken him. But Messenger Of The Gods - The Singles is a towering legacy, a collection of songs which will never lose their stature of classics and will live on forever.Disc 1 - Blue Colored Vinyl
(a) I Can Hear Music - Larry Lurex (1973)
(b) Goin' Back - Larry Lurex
Disc 2 - Orange Colored Vinyl
(a) Love Kills (1984)
Disc 3 - Yellow Colored Vinyl
(a) I Was Born To Love You (1985)
(b) Stop All The Fighting
Disc 4 - Red Colored Vinyl
(a) Made In Heaven [Single Remix] (1985)
(b) She Blows Hot And Cold
Disc 5 - White Colored Vinyl
(a) Living On My Own [Single Edit] (1985)
(b) My Love Is Dangerous
Disc 6 - Red Colored Vinyl
(a) Love Me Like There's No Tomorrow (1985)
(b) Let's Turn It On
Disc 7 - Cyan Colored Vinyl
(a) Time (1986)
(b) Time [Instrumental]
Disc 8 - Orange Colored Vinyl
(a) The Great Pretender (1987)
(b) Exercises In Free Love [Freddie's Vocal]
Disc 9 - Clear Colored Vinyl
(a) Barcelona [Single Version] (1987)
(b) Exercises In Free Love [Montserrat's Vocal]
Disc 10 - Gold Colored Vinyl
(a) The Golden Boy [Single Edit] (1988)
(b) The Fallen Priest [B-Side Edit]
Disc 11 - Green Colored Vinyl
(a) How Can I Go On [Single Version] (1989)
(b) Overture Piccante
Disc 12 - Neon Pink Colored Vinyl
(a) In My Defence (1992)
(b) Love Kills [Wolf Euro Mix]
Disc 13 - Yellow Colored Vinyl
(a) Living On My Own [No More Brothers Radio Mix] (1993)
(b) Living On My Own [Julian Raymond Album Mix]$139.997 Inch Colored Vinyl Box Set - 13 Singles Sealed Buy Now
Prokofiev For TwoPianists Martha Argerich and Sergei Babayan have recorded two selections from Prokofiev's music for stage and screen in magnificent two-piano transcriptions by Babayan. Prokofiev for Two, set for release worldwide via Deutsche Grammophon, captures for posterity the sense of mutual inspiration felt by these kindred spirits, palpable in their live performances together. The album features Babayan's twelve-movement transcription of numbers from the ballet Romeo and Juliet and his seven-movement suite transcribed from Prokofiev's incidental music for Hamlet and Eugene Onegin, film score for The Queen of Spades and opera War and Peace.
Martha Argerich and Sergei Babayan first met in Brussels in 1991 when, on a whim, he looked her up in the phonebook and, to his own surprise, found her name and telephone number listed. His call from a phone box in the city started a strong friendship that led to numerous joint appearances in Europe and America. After one performance of Rachmaninov's "Suite No.2" and other works for two pianos, Babayan told Argerich of his dream to transcribe pieces from Romeo and Juliet for their next duo date. "She was very inspired by the idea," he recalls. "It was the greatest pleasure - and an honor - to create something that we would play together." Babayan's take on Prokofiev, coupled with a suite of rarities from the composer's stage and film music, can be heard in Prokofiev for Two.
The freshly transcribed Prokofiev score received its premiere performance as part of the Martha Argerich Project at the 2013 Lugano Festival. Argerich and Babayan have since performed this work together with the revised Romeo and Juliet suite several times, most recently in concert at Stuttgart's Liederhalle last November.
Martha Argerich is already renowned for her interpretations of Prokofiev's music. The Argentine-born artist, hailed as one of the greatest pianists of all time, included the composer's turbulent "Toccata" in her Deutsche Grammophon recital debut album, recorded in 1960. She reinforced her international reputation seven years later with a landmark recording for the yellow label of Prokofiev's "Third Piano Concerto" with the Berliner Philharmoniker and Claudio Abbado. "I have loved Prokofiev ever since I can recall," notes Argerich. "And people think he loves me too sometimes! I love the way Sergei [Babayan] plays Prokofiev and many other things. The first solo recital of his I heard was Bach's Goldberg Variations and I was incredibly impressed by it. I very much liked his proposal that we should play his transcription of Romeo and Juliet and feel very honored that he dedicated it to me."
Babayan's love for Prokofiev, like Argerich's, is deeply rooted, dating back to his childhood in Armenia and student days at the Moscow Conservatoire. Having left the USSR for the first time in 1989, he settled in the U.S. Time and again, Babayan has paid tribute to Prokofiev, playing several of his piano concertos with Valery Gergiev including at the 2015 BBC Proms in a monumental concert with the London Symphony Orchestra featuring all five of the works.
His new Prokofiev transcriptions are both dedicated to Martha Argerich. "This project happened because of my love for Prokofiev, my love for Martha and my love for the ballet Romeo and Juliet," reflects Babayan. The idea of transcribing Romeo and Juliet first arose decades ago while he was studying Prokofiev's colorful instrumentation in close detail with an orchestra. Already aware of Argerich's playing, he was further inspired after hearing a pirate recording of her 1981 Carnegie Hall performance of the "Ten Pieces Op.75" from Romeo and Juliet. "I listened and was immediately drawn to learn the cycle. But I felt that Prokofiev used chamber-like numbers for his selection of music for his transcription for solo piano. If you first became acquainted with the ballet through this piano score, you would never guess or understand the whole tragic, violent, and dark nature of the original work. Of course, the ballet contains lyrical, romantic music; music filled with humor and dance movement. But it also contains music for the "Death of Tybalt" - music of love and hate."
Believing it would be impossible for music of such powerful emotion to be conveyed by two hands, and aware of Prokofiev's own fondness for transcription, Babayan felt driven to exploit the full expressive force and tonal richness of two pianos. His created version contains what Martha Argerich, with a wry laugh, calls "difficult and demanding" technical and musical challenges. Both musicians, however, agree that transcription is "an act of love" and Babayan's experience with Romeo and Juliet soon led him to explore some of the composer's lesser-known works and create the second suite on this album. As he points out, this music will be new to most listeners. For example, only fragments of the film score for The Queen of Spades have ever been performed or recorded. He underlines its imaginative and innovative qualities, adding, "I'm sure if Prokofiev had lived longer he would have used the material for The Queen of Spades for a new movie, symphony, quartet or maybe even a piano duo. This music stayed on the shelf and it was my luck to hear it."
Prokofiev for Two is driven by the passion and power of an ideal keyboard partnership. Martha Argerich considers playing in duo with Babayan to be "a thing of alchemy - a discovery". For his part, Babayan says the experience of performing with Argerich is like joining a conversation with a divine being, one in which "you cannot be mundane or ordinary ... Martha will somehow pull out the best from you."$35.99Vinyl LP - 2 LPs Sealed Buy Now
ConversationsWoman's Hour are not your average band. The first clue comes in the name of the London-based swoon-pop four-piece, taken from a beloved female-focussed news and culture show on BBC Radio 4. The second is in their graphic, striking monochrome visuals, meticulously curated in collaboration with TATE and MOMA certified fine artists Oliver Chanarin and Adam Broomberg. These play with shape and texture, much like their powerful, iridescent music. On their excellent debut album 'Conversations', this has the intricate construction and intimacy of The xx and the iridescent shimmer of summer-defining indie pop. Pay attention now, or regret it later.
In a sense, we feel like the odd ones out, explains frontwoman Fiona Burgess of their nose-to-tail approach to their visuals, performance and songcraft. It's quite empowering that we're doing it as four people but we're not part of a bigger collective. Indeed, their 360º approach is closer to the art/music crossover of acts such as Throbbing Gristle, Yoko Ono or Factory Floor than most of this year's indie hopes. Their music - as poignantly personal as pop gets - has a rare singularity and purpose.
Take single Her Ghost, which layers a breezy guitar hook with Fiona's beautiful, sighing lyric of inner turmoil. I'm interested in the idea of memory and how powerful memories can be, and how powerful some things can be to let go of, she says. A lot of my writing is me trying to understand an emotion or situation. The track's melody and a message lingers in the recesses of the mind like a box of treasured letters.
Woman's Hour started to come together one summer, when Fiona started collaborating with her brother, guitarist William Burgess. I had been to a couple of rehearsals with other bands and it wasn't very much fun, says William. I mentioned to Fiona that I'd like her to sing and we decided to have a go. I went round to her place one day and it turned our that she had a pretty nice voice! The two recruited bassist Nicolas Graves, who was William's friend from back home (the pair had played in a couple of local guitar bands back in Kendal) and the three began creating their music. Nicolas explains: We just messed around in each other's houses for a bit and tried to get a few songs together.
We played our first gig in 2011, Nicolas continues. It was at Fiona's house in Camden. It was a hat-themed party. I remember wearing a beret. Fiona was wearing a trilby, and Will had a sombrero on. It was incredibly nerve-racking for the trio despite the jolly occasion (I almost froze with fear at one point laughs Nicolas), but the gig was a runaway success, and it was there that they all met keyboardist Josh Hunnisett, who was already a friend of Fiona's and happened to be doing the sound at the event. Even in the shambolic situation, the band were meticulous perfectionists.
The quartet had their first rehearsal in an old vicarage in Dalston. It just felt really honest, says Josh. There was no 'you can't do this, you can't do that, don't try that - the style of music felt pure and everyone was expressing themselves in the way they wanted. We've tried to think about this as a collaboration between four different creative people. Each band member brings a wholly distinct set of influences to the band - from German cold wave to pop rarities and uncompromising singer/songwriters. Their website even has a section dedicated to recommended reading.
But it was their favourite radio show that was to be have most prominent effect on the band. When we were first doing demos we named them all after BBC Radio 4 programmes, explains Nick. The World at One, Afternoon Play, that kind of thing. I think Woman's Hour might have been one of them, and when it came to play our first gig (at The Queen's Head in London) one of our friends suggested using it and it stuck. Indeed, their jangle-pop first single Jenni, which is quite different to their current material, was named after Radio 4 stalwart Jenni Murray. The band's first 7, Jenni/ Human, was released through London label Dirty Bingo after the label head tracked them down on online and interviewed them for beloved London zine Loud And Quiet.
Although the single made a splash, things were moving too fast for the band. Suddenly we thought, 'should we have had something to back this up?, says William. 'We didn't have any more songs, so we took a year and a half off to write and develop the sound. That's also when we met Tom Morris, our producer. The band hibernated, starting from the bottom up. Let's get everything fucking slick, how we want it, let's do everything exactly how we want it ourselves - don't compromise.
It was worth the wait. When the band put their gorgeously lilting comeback single Our Love Has No Rhythm online in 2013, the blogs exploded, in part due to the glossy monochrome video depicting Fiona's face in close-up, and also the stunning single artwork - an uneasy found image of a suited gentleman falling over. We've been using images that are taken from manuals, explains Fiona. Lots of different 'How To' manuals from How to Train a Chihuahua to How to Fall Over Without Hurting Yourself. We like the idea of how to look after yourself physically paired with the music, which is a lot less direct.
Perhaps Woman's Hour's music does not hammer its message home, but there's a nuance and craft that's scarcely found in today's industry. They followed Our Love Has No Rhythm, with the cooing, Beach House-esque Darkest Place in which Fiona implores I don't understand why you're not around over swooning keyboards, with a cooing ooooh-ooooh hook. For the track's striking video, she'd is depicted in close crop with her eyes closed as an unknown figure attempts to prise them open. I was finishing a degree in performance studies at the time, and I came across this particular piece by Vito Acconci, she says of the inspiration for the video. The original piece is about 20 minutes long, and it's absolutely gruelling, there's no soundtrack to it and it's a piece where you can hear the sound in the room of two people in a physical struggle. You can hear the heavy breathing, the feet, the occasional sounds of resistance. She endured a restaging of the piece, which she found very intense and intimate.
Woman's Hour have an uncompromising commitment to the unconventional. For them, music does not exist as merely a hummable soundtrack but as a wider and more artistic proposition. As Fiona continues: A lot of music videos are not very challenging, and I like the idea of them being quite confronting. Our album artwork is inspired by a picture of a woman surrounded by pyramids that was part of a magazine article called The Start of an Era. It was a 1970s performance piece that was performed at the Whitney Museum in New York, and we've also designed nine of these pyramids with Oliver Chanarin that we'll incorporate into our live show when possible. The Start of an Era? We couldn't have said it better ourselves.1. Unbroken Sequence
3. To The End
4. Darkest Place
5. In Stillness We Remain
6. Our Love Has No Rhythm
7. Her Ghost
8. Two Sides of You
11. The Day That Needs Defending$18.99Vinyl LP - Sealed Buy Now
The Journey Man"In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."
Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"
It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.
But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.
Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.
Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.
"I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."
What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.
Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.
By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."
Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).
Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.
A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.
The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.
Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.
"I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."
Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.
'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.
Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".
And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.
- Tim Barr, 2017LP 1
1. Horizons (feat. Terri Walker & Swindle)
5. The Mirrored River
1. I Adore You (w/ Ulterior Motive)
2. I Think of You
3. Truth (feat. Jose James)
1. Tu Viens Avec Moi?
2. The Ballad Celeste
3. This Is Not A Love Song
4. The River Mirrored (feat. Terri Walker)
6. Tomorrow's Not Today
7. Run Run Run$35.99Vinyl LP - 3 LPs Sealed Buy Now