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To be….less.”\u003c\/em\u003e\u003cbr\u003e\n\u003cbr\u003e\nSwiftly following Return, the band initially had no plans to make a full length. “The last thing we felt like doing was making another album,” says bassist Patrick Fitzgerald. \u003cem\u003e“It was like, ‘let's do this little EP that's aesthetically quite different and pared down’.” \u003c\/em\u003eLess was always planned to be a statement in reduction but it soon became apparent that the songs the band were writing were significant, personal and, despite the intentions to strip things back, bigger. \u003cem\u003e“As time went on, we started putting much more emotional weight into it and it became more important to us,”\u003c\/em\u003e says Banks.\u003cbr\u003e\n\u003cbr\u003e\nThe result is a record that is as powerful and potent as it is tender and introspective, with arrangements that manage to feel refined yet detailed and with a deep emotional resonance at the core of the record. Banks’ voice shifts from hushed whispers to guttural screams, one minute tapping into the kind of fragile beauty that artists like Elliott Smith managed so well, on tracks such as ‘Duffy’s’ before unleashing a doom metal growl in thundering unison with the band on ‘Empty Heavy’.\u003cbr\u003e\n\u003cbr\u003e\nThe record has confirmed early press support from a number of UK publications, including a 4-page print feature in Loud \u0026amp; Quiet, a feature in Line of Best Fit, and early indications of support from Stereogum and a number of other U.S. publications too. A radio campaign will also be run for the second single ‘Duffy’s’ and we expect support from BBC 6 Music, Apple Music and other tastemaker stations.\u003c\/p\u003e\n","brand":"deathcrash","offers":[{"title":"Default Title","offer_id":44445272080669,"sku":"UR12","price":26.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/Deathcrash_-_Less_-_Mockup_281_29.png?v=1759501623"},{"product_id":"star-wars-the-rise-of-skywalker-ost-vinyl-2lp","title":"Star Wars - The Rise of Skywalker (OST): Vinyl 2LP","description":"\u003cp\u003eDirector J.J. Abrams once again takes viewers on an epic journey to a galaxy far, far away with Star Wars: The Rise of Skywalker, the riveting conclusion of the seminal Skywalker saga, where new legends will be born and the final battle for freedom is yet to come. 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It’s also a grown-up record. ’10 Songs’ is a record about the way life comes at love and what love does to weather those challenges. “This is no rehearsal\/This is the take,” sings Fran at the beginning of Waving At The Window, over an insistent piano hook, “Promises you once kept\/Are going to break \n\nEvery track on this album carries an even load. No passengers here. Nowhere to hide. “I write songs in an antiquated way,” explains their creator, “Sitting at the bottom of the bed, ‘pouring my simple sorrow to the sound hole and my knee’, as Joni Mitchell put it.” As a songwriter based in L.A., Fran Healy doesn’t need anyone to tell him this is no longer how it’s done. It’s far from uncommon for the credits on successful modern pop songs to feature upwards of ten writers. Hits by committee. “It’s fine,” notes Fran, “Personally though, I’ll take ten songs written by one person over one song written by ten people. 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The music is as nasty as the lyrics, wallowing in a bluesy, metallic hard rock borrowed from Aerosmith, AC\/DC, and countless faceless hard rock bands of the early '80s. It's a primal, sleazy sound that adds grit to already grim tales. It also makes Rose's misogyny, fear, and anger hard to dismiss as merely an artistic statement; this is music that sounds lived-in. And that's exactly why 'Appetite for Destruction' is such a powerful record - not only does Rose have fears, but he also is vulnerable, particularly on the power ballad 'Sweet Child O' Mine.' He also has a talent for conveying the fears and horrors of the decaying inner city, whether it's on the charging 'Welcome to the Jungle,' the heroin ode 'Mr. Brownstone,' or 'Paradise City,' which simply wants out. 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There’s the sense his ambitions on Damn are even larger, reaching toward something more universal, fateful even spiritual in its reach to find the link tying all contradictions together. 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Rihanna worked with various producers on the album, including Christopher \"Tricky\" Stewart, Terius \"Dream\" Nash, Neo da Matrix, Timbaland, Carl Sturken, Evan Rogers and StarGate. Inspired by Brandy Norwood's fourth studio album Afrodisiac (2004), Good Girl Gone Bad is a pop, dance-pop and R\u0026amp;B album with 1980s music influences. Described as a turning point in Rihanna's career, it represents a departure from the Caribbean sound of her previous releases. The album received seven Grammy Award nominations and one win in the Best Rap\/Sung Collaboration category for \"Umbrella\" at the 2008 ceremony. The album debuted at number two on the US Billboard 200 chart and sold 162,000 copies in its first week. Certified quintuple platinum by the Recording Industry Association of America (RIAA), it sold more than 2.8 million copies in the United States. The album reached number one in Canada, Switzerland and the United Kingdom. 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The band that formed as an idea of friends from several well known rock\/metal bands (SOILWORK, ARCH ENEMY, MEAN STREAK) back almost a decade ago and has been dropping jaws ever since. With 5 albums already under their belt, 2 nominations for the Swedish Grammies, countless live shows and praises from fans and media alike, TNFO have steadily upped their game when it comes to paying tribute to a decade that influences all sorts of people and even industries to this day - the 80s. With hits like ‘Domino’, ‘Lovers In The Rain’, ‘West Ruth Ave’, ‘Divinyls’ or ‘This Time’, the band manages to maintain a variety of vibes and emotions within every album. From hard rockers, poppy digressions to progressive epics, disco-esque songs and almost cheesy yet loveable ballads.\u003c\/p\u003e\n\n\u003cp\u003eEnter 2020, TNFO had just released their recent record, ‘Aeromantic’, and kicked off their European tour in support of it, when the Covid-19 pandemic hit. Björn Strid, the AOR dictator helming this exceptional collective called NFO, recalls “We made it one week into the tour after some absolutely amazing shows and then it all went south and we had to go home. Just about everyone on the tour got sick when they came home, with varied conditions.”\u003c\/p\u003e\n\u003cp\u003eThe band didn’t step back and accept the situation but decided to do what they do best instead: “It was pretty clear after some months into the Covid madness, that it was here to stay and that we weren’t gonna be able to tour for quite some time. So we made the best out of it. The remedy was simply to hit the studio again as soon as everybody was well again. It ended up being an incredibly creative 1,5 years and so many amazing songs came out of it.”\u003c\/p\u003e\n\n\u003cp\u003eThat being said, the second part of the ‘Aeromantic’ saga really captures what this band is all about: being in motion and romanticizing traveling, sometimes even with a broken heart - accompanied by the good things in life. Namely with songs like ‘White Jeans’, yet another jaw dropping classic rock gem about hot young love, cramped with nostalgia, or ‘Change’, which encompasses all the vibes you know from your favorite decade: Urgency, emotion, warmth and excitement. But also groovy danceable songs like ‘Chardonnay Nights’, a groovy, dreamy, yet uplifting homage to parties and hot love, or ‘Burn For Me’, a true feel good anthem for the summer - driving people to dance in the streets, all worries aside, to a brighter future.\u003c\/p\u003e\n\n\u003cp\u003eOn the other hand there are tracks like the almost progressive ‘Amber Through A Window’. A little throwback (at least titular) to the NFO’s epic 2017 album ‘Amber Galactic’: “Amber is with us wherever we go and I think she’ll keep coming back. She’s our mascot of escapism. The song was very interesting to compose. It takes you on quite a journey with key changes and goes from minor to major when you least expect it and throws you between different set of emotions. At the same time it feels pretty direct and operates like a mini epos. Really happy with how it turned out“, cites Strid.\u003c\/p\u003e\n\n\u003cp\u003eBesides all this, the band has also stepped up their game when it comes to music videos for their timeless anthems. “White Jeans” for instance features Swedish TV personality Fredrik Lexfors and is a sweet little homage to the LGBTQIA+ community. “Fredrik is a good friend of mine and has loads of experience in the musical\/theatre world and is super creative. He created this character called ”Kantorn” (The Cantor) some years ago and became a hit on YouTube. He has a very twisted and unique way of singing and acting, which is very funny. He was a part of Sweden’s Got Talent TV Show and went really far and became a crowd favorite. Fredrik has a lot of friends in the LGBTQIA+ community and I also have quite a few. We saw it as a joyful tribute and we’ve only gotten really good response. It’s of course also humorous but has a very nice balance and a very positive message.”\u003c\/p\u003e\n\n\u003cp\u003eThe bold and jovial video for “Burn For Me” on the other hand maybe among the biggest and best productions, the NFO ever recorded for the depths of the internet: “I’ve had this idea to film a ”Dancing in the Streets” video, where curious people come out of the woodworks and join the party in the streets. It’s a very classic 80’s scenario and very common in videos back then. Sort of the video to IRENE CARA’s ”Fame”. You don’t see it very often these days. We felt that it was needed and after “Burn For Me” was done I immediately envisoned it being the perfect ”post corona dancing celebration in the streets-song”.”\u003c\/p\u003e\n\n\u003cp\u003eThose two videos are by far not everything the band will have to offer visually, but we won’t tell any more just for now. To be continued… \u003c\/p\u003e\n\n\u003cp\u003eWith all that new greatness up their sleeves, NFO are ready to take the world by storm – again! Even though coming up with a setlist for their scheduled tour starting in September may prove to become problematic according to the AOR Dictator: “Making a setlist might end up being a nightmare haha… I would be up for doing only songs off »Aeromantic I« and »Aeromantic II« since that’s really where we’re at right now, but I think most of our the Midnight Flyers would like to hear some old stuff, too. 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In the time since those heady days, their career has been burnished by the kind of triumphs wrought by the sweaty toil of relentless touring and the steady anvil-beat of landmark releases that have won them a legion of fans around the world. Just as TRIVIUM have tirelessly forged their careers, so too have those ceaseless hammer-blows shaped Matt Heafy who, with each passing year, has taken shape as an artist, songwriter and thrilling frontman on stage, and one of metal’s most compelling voices when he’s off.\u003c\/p\u003e\n\n\u003cp\u003eGiven the close intertwining of Matt and TRIVIUM’s stories, you’d have thought the two would be inseparable, but not so, because IBARAKI – the name for a terrifying Japanese demon taken from feudal legend – is more than a solo record. As he tells it, it’s the end-result of a journey to find his voice. It’s personal, it’s deep, and as he explains, its inspirations include everything from an adoration for the extremes of black metal, to the exuberant storytelling of Gerard Way, to the adventuresome worldliness of tragic bon viveur Anthony Bourdain. It’s a reflection of his multifaceted interests as well as a profound affirmation of his Japanese-American identity, and one that led him to confront one of his family’s most tragic moments. Like the artist behind it, there is much to the story of IBARAKI and it began with a timid email to one of black metal’s most revered and influential figures.\n\tIt was Matt’s exposure to Ihsahn’s solo work that would inspire the gradual craftsmanship that would eventually become IBARAKI. It was also the beginning of a friendship and creative collaboration that would eventually compel Ihsahn to take a leap of his own into a newfound role as producer on the project. While much of the material for IBARAKI was assembled over those months and years – as much a songwriting process as an exchange of ideas between friends – it wasn’t until the pandemic that the space was created and the idea could really flourish. “It was very loose,” says Ihsahn. “We just had rough demos for a very long time because we’re arguably pretty busy people, but suddenly everything was cancelled and we had time on our hands for the first time, so it was like, ‘OK, let’s do this.’ We never got to work in the same room; he’d track guitars and send them to me, I’d run them through my studio and send them back. It was a new way of working, but it was like he was there on the other side of the glass. Matt is a very, very positive energetic and passionate music fan – we have similar attitudes to music and open mindedness. We hit it off, and it’s been really rewarding to me. I’ve always been on the artist's side, but Matt made it so easy for me because there’s no ego and he’s so open to new perspectives and he isn’t afraid of changing directions. He has such a wide range of musical influences. We talked about that and it was very obvious for me that he could extend his talents to a wider range. In all extreme genres there’s always a very small stereotypical framework of what you're supposed to do.”\u003c\/p\u003e\n\t\u003cp\u003eBut IBARAKI was more than just an expression of Matt and Ihsahn’s deep creative resonance. He got by with a little help from his friends, too. While primarily written by Matt, Ihsahn engineered and produced and contributed some song structures, plus TRIVIUM drummer Alex Bent and bassist Paolo Gregoletto and guitarist Corey Beaulieu contributed to various tracks. Ihsahn’s wife Heidi even sampled some natural sounds from the forest near their home and his entire family and Gerard Way contributed guest vocals to the song “Ronin”. “We got Nergal doing guest vocals on ‘Akumu’, too, which was just amazing,” says Matt\u003c\/p\u003e\t.\n\t\u003cp\u003eAs pivotal as Matt’s interactions with novice producer Ihsahn would be, it wasn’t just his perspective on music that was about to change. The shift that would imbue IBARAKI with its unique culturdentity – aside from its joyous musical eccentricities and creative sojourns which really have to be heard to be believed – but it’s the inspirational personal journey behind it that makes it a true standalone. That’s because just as Ihsahn encouraged Matt to break with the limiting musical conventions of the genre, he also motivated him to seek out new avenues for lyrical inspiration.\u003c\/p\u003e\n\t\u003cp\u003eMore than an album simply inspired by Japanese mythology and folklore, to Matt, IBARAKI is – like so many things from the land of the rising sun – an album that exists on two levels. The imaginary and the literal. The layers of meaning also abound, as do demons both real and imagined.So it wasn’t just the rich mythology and folklore of Japan that would give IBARAKI its unique aesthetics and influences – it would provide Matt with the catalyst to contemplate his own identity and to consider how recent tragedies stateside have highlighted the need for better representation in metal. The rise in anti-Asian violence and bigotry was something that Matt was keen to confront.\u003c\/p\u003e\n","brand":"Ibaraki","offers":[{"title":"Default Title","offer_id":44562563203357,"sku":"727361572594","price":28.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/SharedImage-131548.png?v=1759786925"},{"product_id":"you-will-be-the-death-of-me-exclusive-splatter-vinyl-lp","title":"You Will be The Death Of Me: Exclusive Splatter Vinyl LP","description":"\u003cp\u003eTime fortifies the bonds between us. Since emerging in 2018, Light The Torch have grown stronger in lockstep together as a band and as friends. Through this growth, the Los Angeles, CA trio—Howard Jones [vocals], Francesco Artusato [guitar], and Ryan Wombacher [bass]—only enhanced every aspect of their signature sound. Upheld by head-spinning seven-string virtuosity, yet also anchored to skyscraping melodies, the group crafted twelve no-nonsense and no-holds-barred metallic anthems on their 2021 second full-length album, You Will Be The Death of Me [Nuclear Blast].\u003c\/p\u003e\n\u003cp\u003e“The past few years have helped me to become much more personal in my writing,” explains Howard. “Even though I’m kind of a loner, this band became real family. My experiences with Ryan and Fran inside and outside of the band truly bonded us. I think it shows in this album, it truly represents who we are as a group.”\u003c\/p\u003e\n\n\u003cp\u003e“Every second on this record was thought-out,” adds Fran. “Howard’s performance gives me chills, because it feels so alive. There’s so much emotion in it. I know the guy very well at this point, and our friendship is a big part of Light The Torch.”That friendship cemented over the course of the past three years. The group shot out of the gate as a contender on their full-length debut, Revival. It bowed at #4 on the Billboard US Independent Albums Chart and at #10 on the Hard Rock Albums Chart in addition to receiving acclaim from Revolver, Outburn, and many more. “Calm Before the Storm” racked up a staggering 14.5 million Spotify streams, while “The Safety of Disbelief” remains one of SiriusXM Octane’s all-time most requested songs. They also crisscrossed North America and Europe on tour with the likes of Trivium, Avatar, In Flames, Ice Nine Kills, Killswitch Engage and August Burns Red to name a few.\u003c\/p\u003e\n\n\u003cp\u003eIn late 2019, an idea for the title track “Death of Me” kickstarted the creative process. The guys returned to Sparrow Sound in Glendale, CA to once again work with the production team of Josh Gilbert and Joseph McQueen [Bullet for My Valentine, As I Lay Dying, Suicide Silence].This time around, they also welcomed Whitechapel’s Alex Rudinger on drums. “He’s incredible,” says Fran. “He was exactly what we needed.”Now, they kick down the door for You Will Be The Death of Me with the single “Wilting In The Light.” Howard’s instantly recognizable vocals soar over a sweeping riff and rolling beat before culminating on a massive luminous hook, “Over and over again we struggle.  We’re wilting in the light, and we stumble in the dark.”“It has a different vibe and a very interesting riff,” observes Howard. “I love it when listeners can take what they want from a song. This was a special one for us.”\u003c\/p\u003e\n\n\u003cp\u003e“More Than Dreaming” opens up the record with gut-punching guitar and another knockout hook. Elsewhere, airy keys wrap around chugging distortion on the title track “Death Of Me.” Regarding the latter, the frontman goes on, “Most people have some source of grief in their lives. It’s relatable, and it was appropriate for the song.”After the melodic melancholia of “Come Back To The Quicksand,” Light The Torch recharge the 1987 Terence Trent D’Arby classic “Sign Your Name” as the record’s climax. Shimmering keys bleed into an overpowering verse before it snaps into the immortal chorus beefed up with thick distortion. “Howard stayed at my house with me and my wife for the entire recording of the album,” recalls Fran. “I like to cook, and one night during the first week of pre-production I made everyone dinner.  A compilation with ‘Sign Your Name’ started playing, and I thought, ‘I can do a version that would sound awesome!’ Howard knew and loved the song too. For as crazy as it sounded, it worked so well.”\u003c\/p\u003e\n\u003cp\u003eIn the end, the bond between Light The Torch burns brighter than ever in the music as they deliver a definitive statement with You Will Be The Death Of Me.\u003c\/p\u003e\n\n\u003cp\u003e“We wanted to make a fully listenable and fun album that doesn’t let up,” Howard leaves off. “At the same time, we’re showing some heart, passion, and connection. It’s what we’ve always intended to do with this band.”\u003c\/p\u003e\n","brand":"Light The Torch","offers":[{"title":"Default Title","offer_id":44562563531037,"sku":"727361586898","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/SharedImage-117605.jpg?v=1759749384"},{"product_id":"now-yearbook-1980-1984-vinyl-extra-5lp-boxset","title":"NOW - Yearbook 1980 - 1984: Vinyl Extra (5LP Boxset)","description":"\u003cp\u003eEach release in our ‘Yearbook’ series includes a vinyl edition, featuring a selection of tracks taken from the full line-up found on the CD version. Inevitably, this has meant that a huge number of fabulous tracks have not been included on the LP versions… plus we have also released an accompanying CD ‘Extra’ for each of the years.\u003c\/p\u003e\n\n\u003cp\u003eNOW are proud to present ‘NOW - Yearbook 1980 - 1984: Vinyl Extra’ - a 5LP boxset featuring an album per year for the period 1980-1984, each including an incredible line-up of tracks taken from either the ‘Yearbook’ or ‘Extra’ that haven’t been included on a ‘Yearbook’ vinyl edition before.\u003c\/p\u003e\n\n\u003cp\u003e75 moments of Pop magic in a numbered limited-edition boxset – with each vinyl pressed in the colour of the years’ original ‘Yearbook’.\u003c\/p\u003e\n\n\u003cp\u003e1980: The stellar track list kicks off with Blondie’s No. 1 ‘Call Me’, before a line-up including Madness, Kate Bush, Roxy Music, and Siouxsie And The Banshees. Classic Rock from Motörhead and Judas Priest, Soulful Disco from Diana Ross and Donna Summer, and a perennial Christmas favourite from Jona Lewie are all featured.\u003c\/p\u003e\n\n\u003cp\u003e1981: Side A reflects the explosion of artists enjoying their huge early hits in this incredible year for Pop; Adam \u0026amp; The Ants, Toyah, Kim Wilde, The Human League, and Fun Boy Three are all included – and on the flip side, The Police open an equally dynamic listing featuring Pretenders, Orchestral Manoeuvres In The Dark, Gary Numan, and closes with the Pop gem ‘Wired For Sound’ from Cliff Richard.\u003c\/p\u003e\n\n\u003cp\u003e1982: Duran Duran, Haircut 100, Soft Cell, Japan, ABC, The Clash, and The Jam represent some of the greatest artists of all-time, as well as the era – plus pure Pop heaven from Bucks Fizz, Tight Fit and Dollar.\u003c\/p\u003e\n\n\u003cp\u003e1983: Opening with Wham! and featuring a run of huge hits from ‘83’s contemporary chart stars Spandau Ballet, Bananarama, Paul Young, Culture Club, The Cure and Tears For Fears – plus global smashes from long-established chart legends Elton John, Billy Joel, Robert Plant and ‘Say Say Say’, the collaboration between Paul McCartney and Michael Jackson.\u003c\/p\u003e\n\n\u003cp\u003e1984: An amazing year for pop is reflected here with a line-up that kicks off with Queen’s iconic ‘Radio Ga Ga’ and finishes with the biggest selling single of the decade, ‘Do They Know It’s Christmas?’ from Band Aid. Between these are massive hits from Lionel Richie, Rufus And Chaka Khan, Tina Turner, Alison Moyet, Howard Jones and Frankie Goes To Hollywood.\u003c\/p\u003e\n\n\u003cp\u003eFor ‘Yearbook’ collectors and vinyl fans – 75 amazing Pop memories showcasing the magic and diversity of the era.\u003c\/p\u003e\n\n\u003cp\u003e5-LP - Numbered Limited-Edition Boxset – Coloured Vinyl - NOW - Yearbook 1980 - 1984: Vinyl Extra.\u003c\/p\u003e\n","brand":"Various Artists","offers":[{"title":"Default Title","offer_id":44576064373021,"sku":"LPNBX3","price":99.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/SharedImage-145698.png?v=1769788506"},{"product_id":"now-yearbook-1986-3lp","title":"NOW – Yearbook 1986 (3LP)","description":"\u003cp\u003eNOW Music is proud to present the next instalment in our ongoing ‘Yearbook’ series, NOW – Yearbook 1986; 43 tracks on a 3LP set pressed on translucent purple vinyl - from a fantastic year in pop!\u003c\/p\u003e\n\n\u003cp\u003eOpening with two stellar #1s, ‘A Different Corner’ from George Michael and ‘The Sun Always Shines On T.V.’ from a-ha, before leading into huge hits from Duran Duran (‘Notorious’), ‘Thorn In My Side’ from Eurythmics, and the #1 ‘Rock Me Amadeus’ from Falco. Kate Bush’s ‘Hounds Of Love’ starts the flip side before timeless radio friendly Pop from the Pretenders, and the lead single from one of the year’s biggest albums (‘Graceland’) from Paul Simon with ‘You Can Call Me Al’, along with two of the year’s most enduring ballads from Simply Red and Spandau Ballet.\u003c\/p\u003e\n\n\u003cp\u003eSide 1 of LP2 is all about Pop-Dance energy – kicking off with Wham!’s final hit and #1 ‘The Edge Of Heaven’ and 1986’s biggest seller ‘Don’t Leave Me This Way’ from The Communards with Sarah Jane Morris. Bananarama scored a huge hit (and a US #1) with ‘Venus’, as did Kim Wilde with ‘You Keep Me Hangin’ On’. There’s also the debut from Nick Kamen, the sublime ‘Breakout’ from Swing Out Sister and the #1 ‘I Want To Wake Up With You’ from Boris Gardiner.\u003c\/p\u003e\n\n\u003cp\u003eAlternative Pop takes the spotlight on the other side of LP2, with 1986 a vintage year for the sheer diversity of its chart music. The Smiths peerless ‘Panic’ opens, and is joined by Big Audio Dynamite, Furniture, and the landmark ‘Life’s What You Make It’ from Talk Talk. More timeless Pop from Red Box and The Bangles leads toward the well-chosen #1 cover of ‘Spirit In The Sky’ from Doctor \u0026amp; The Medics.\u003c\/p\u003e\n\n\u003cp\u003eLP3 starts in epic cinematic style with the iconic #1 ‘Take My Breath Away’ (taken from the film ‘Top Gun’) by Berlin, with huge global Rock smashes from Bon Jovi ‘Livin’ On A Prayer’, and one of the best ever collaborations between Run DMC and Aerosmith on ‘Walk This Way’. Robert Palmer’s ‘Addicted To Love’ would become a timeless radio staple, and the year saw new hits from Simple Minds, The Rolling Stones, and a new version of a classic from The Police.\u003c\/p\u003e\n\n\u003cp\u003eThe final side is all about sophisticated Dance-Pop, opening with the Jam \u0026amp; Lewis produced ‘Human’ from The Human League, and a further US #1 from Steve Winwood with ‘Higher Love’. Massive tracks from Level 42 and Five Star are up next and are followed by two of the year’s biggest floor-fillers: ‘We Don’t Have To…’ from Jermaine Stewart and Lionel Richie’s international smash ‘Dancing On The Ceiling’, before closing with one of 1986’s greatest vocals from Whitney Houston on her defining cover of ‘Greatest Love Of All’.\u003c\/p\u003e\n\n\u003cp\u003eNOW – Yearbook 1986 - A celebration of the diversity and creative magic of the year in pop.\u003c\/p\u003e","brand":"Various Artists","offers":[{"title":"Default Title","offer_id":44576111591709,"sku":"LPYBNOW86","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/SharedImage-147122_281_29_1.jpg?v=1749811325"}],"url":"https:\/\/thesoundofvinyl.com\/collections\/vinyl-vault.oembed?page=15","provider":"The Sound of Vinyl","version":"1.0","type":"link"}