Elvis Presley – EPiC: Elvis Presley in Concert – Original Motion Picture Soundtrack (RCA/Sony)

The soundtrack captures the excitement of the fantastic movie

Baz Luhrmann’s phenomenal EPiC: Elvis Presley in Concert movie was a technical wonder in both video and audio restoration.  We argue in our movie review, that it’s the single greatest Elvis movie ever.  Sony has recently issued the companion soundtrack on a 2-LP vinyl edition, and it’s definitely worth picking up.

The Australian filmmaker is known for his artsy directing, so this collection is neither a proper live album nor a greatest hits package.  Instead, the soundtrack, like the movie, takes you on a journey.  He explains in the liner notes, that the goal was to bring you closer to Elvis, the person.  Through dialogue, remixes, additional gospel choirs, orchestration, and even new songs created from pieces of others, we get a Presley collection that actually sounds alive.

Starting with a dreamy snippet of “Can’t Help Falling in Love,” then, the theme from 2001: A Space Odyssey, and finally, “An American Trilogy,” the mood is anticipatory.  And then, the main event: ELVIS.   

Pounding drums open a psychotic version of “That’s Alright,” played much faster than when he first cut the song in the Sun Studios, 15 years earlier.  Dig how the percussion jumps from the left to right channel on “Tiger Man” – this is furious music, something Elvis is rarely given credit for making, especially this late in his career.

“Wearing That Night Life Look” is an interesting oddity – actually a mashup of “Wearing That Loved On Look” and “Night Life,” with bits of two other Presley tracks, “I, John,” and “Let Yourself Go,” to create, essentially a brand new song.  The instrumentation is modern, with the bass, very hot in the mix.  

I love the Elvis dialogue that runs in-between some of the songs.  His story about being on Ed Sullivan, right before driving into “Hound Dog,” is quite funny.  “Polk Salad Annie,” one of the real highlights of the movie, which shows Presley’s gift at directing his band, is just as powerful in audio form here. 

Things calm down for a soulful run though of “You’ve Lost That Loving Feeling,” before Presley picks up an electric guitar and shows off his chops on a medley of his own “Little Sister” with the Beatles’ “Get Back,” which works really well.  

“Burning Love” is the studio version, fused with the Royal Philharmonic Orchestra, but it’s been juiced up from the original.  “Love Me” is also a remix, just Elvis and the Jordanaires, with some weird echo and light, modern percussion, then drums kick in, and this is very different.  Another example is the vastly remixed “In the Ghetto,” featuring totally new instrumentation and snippets of Presley talking.  Each of these songs give old classics a new coat of paint.

There’s a searing take of “I Can’t Stop Loving You,” before a silly version of “Are You Lonesome Tonight,” which mentions losing your hair.

Presley loved his spirituals, and “How Great Thou Art” is spine-chilling good.  “Suspicious Minds” is sweaty grit, before closing with a tender “Can’t Help Falling in Love.”  

Also very powerful was the poem at the end of the movie, recited by Bono of U2, called “American David.”

The soundtrack features a couple of bonus remixes.  Especially nice is the PNAU version of “Don’t Fly Away,” which dates from the Elvis movie a few years back.  

The superior sounding live footage, coupled with remixes of old songs and chatter from Presley himself, makes the soundtrack to EPiC: Elvis Presley in Concert an incredibly satisfying listening experience; the kind of thing you just want to drop the needle on, and listen away.  —Tony Peters

INXS – Kick (Rhino Hi Fidelity) (Rhino/Atlantic)

This album has never sounded better on vinyl

In the fall of 1987, the Australian band INXS issued their monumental album, Kick.  Their record label originally deemed it too “black” for rock radio, and rejected it, which seems incredibly silly today.  The 6x platinum record yielded four top 10 singles, lots of rock radio play and was the career defining album for INXS.

But, by 1987, vinyl was on life support, as the burgeoning CD was taking over the music industry.  I have an original copy of Kick and it really doesn’t sound that great.  The highs are shrill. And, since this is a dance-oriented album, the bass is a big part of things – and mostly it just splatters over the original LP.

Rhino has just issued Kick in their High Fidelity series and it’s a huge jump in quality – quite possibly the biggest improvement of any album in this series.  Right off, “Guns in the Sky” is nothing but midrange on the original.  On the new version, there’s much more fidelity.  

“New Sensation” just jumps out of the speakers on the Hi Fi version – there’s more stereo separation and dynamic range.  You can also hear more echo on Michael Hutchence’s  voice.  That’s followed by another smash, “Devil Inside.”  On my first pressing, the kick drum seems to overpower everything else.  The new version even things out, and that guitar is FULL!

The hits keep on coming with “Need You Tonight,” with more presence on Hutchence’s voice, and the stereo effects seem to breathe more.  The cymbals rolled off on the original – but here, they sound nice and crisp.   That segues right into “Mediate,” and you can really hear the deep bass on this new pressing.

“The Loved One” really sounded shrill on the original LP – it was the last song on the album.  Here, there’s much more dynamic range.

Onto side two, “Never Tear Us Apart” is another huge improvement.  Hutchence’s vocals are rich and full, the kick drum and bass blast you when they come in, and that fantastic sax solo really cuts through.  There’s more separation on the individual instruments on “Mystify.”  

Side two of my original copy of Kick sounds even worse near the end – it’s nothing but noise and no dynamic range.  On this Hi Fidelity version, you really feel the bass on the song, “Kick,” while “Calling All Nations” really sounds fabulous.  Again, “Tiny Daggers” being the final song on the album side, it’s much improved in this new pressing as well.

This edition is pressed on 180-gram vinyl, cut from the original analog master tapes by Kevin Gray at Coherent Audio.  The album is housed in a heavyweight gatefold jacket with a new essay from critic David Fricke.

The Rhino High Fidelity edition of Kick is the quintessential version of this classic album, and well worth the money.  Very impressed.  —Tony Peters

The Cranberries – Everybody Else Is Doing It, So Why Can’t We? (33^rd Anniversary Edition) (Island/UMe)

The Cranberries’ frontwoman Dolores O’Riordan passed away in early 2018 just as the band was putting together a 25th anniversary edition of their 1993 debut album, Everybody Else Is Doing It, So Why Can’t We?, released later that year via Island/UMe.  Today, to celebrate the album’s 33^rd anniversary, they have released the multi-platinum album across multiple editions (chief among them is the 3LP Limited Deluxe Edition, reviewed here) featuring bonus tracks, live versions, and a new 2026 stereo mix of the album by original producer Stephen Street.    

The album is led by “Linger,” the aptly-titled, everlasting smash single from the album that remains just as ubiquitous and important today as it was 33 years ago.  With its stirring strings and soaring vocals, the song was the perfect introduction to O’Riordan’s lilting and exotic vocals and the band, featuring Noel Hogan, Mike Hogan, and Fergal Lawler. Together they were inspired by the Cure and the shimmering guitars of the Smiths, to create a sound all their own, a world-conquering alternative rock sound that defied the humbleness suggested by the album’s title.  The second single, “Dreams” and the standout track “Sunday” are equally as gorgeous as the first single and just as melancholic yet blissfully cathartic.  Other standouts include, the upbeat “Still Can’t…” with its jangly guitars and insistent rhythm and the rocking, “How” with its tumbling drums and multi-layered vocals.       

The Limited Deluxe Edition features the newly remastered original album on the first disc, the second is comprised of the crisp 2026 stereo mix by producer Stephen Street and the third disc features previously released bonus tracks highlighted by an infectiously danceable remix of “Linger” by Ian Cook of CHVCHES.   Also included are live versions of the songs, “Linger,” “Dreams,” “Pretty” and “Liar” recorded live in London in 1994.  To complete the package, the new editions include an interesting oral history of the album with track-by-track notes from the band members and photo and notes about the artwork from photographer Andy Earl and designer Cally Calloman.    

This limited deluxe edition of Everybody Else Is Doing It, So Why Can’t We? should be considered the definitive version of The Cranberries’ most defining album and a lasting and loving tribute to the memory of Delores O’Riordan.    –Justin Kreitzer for Icon Fetch

Record Store Day: Mutemath – Mutemath (20^th Anniversary) (Rhino)

In case you missed it, Rhino Records reissued the self-titled debut album from Mutemath in celebration of its 20^th anniversary for Record Store Day this past April.  After being out of print on vinyl for over a decade, this exclusive release is presented as a 2LP set on sea blue vinyl and is expanded to include 3 tracks from their first EP titled, Reset.  

The Nashville-based alternative rock band was originally co-founded by singer/songwriter and multi-instrumentalist Paul Meany and drummer Darren King.  Meany’s previous band was the eclectic Christian band Earthsuit and he continued that experimental streak into Mutemath with a multi-layered sound that incorporates samples, synths and spacey psych-rock with soaring alt-rock melodies and off-kilter rhythms for an impressive debut.  

The album was led by the energetic hit single, “Typical” with its driving rhythm and pumped up guitar jangle; it proved to be anything but typical. Another standout is “Chaos” with its atmospheric guitars and synths that surround a steady yet offset beat alongside an infectiously-catchy sing-along chorus. 

Another standout, “Noticed,” reminds me of The Police, fusing a syncopated Sting-like vocal cadence over a krautrock-like beat.  Later, the slower, emotionally-driven “You Are Mine” dives into 60’s and 70’s soul influences and “Stare At The Sun” is mellow with Rhodes piano and a squelching beat.  With a stellar debut album and an explosive, improv-driven live performance, the band arrived fully formed and ready to conquer the world.  

Although Meany and King haven’t made music together since 2017, this 20^th anniversary edition of their debut album is a testament to their musical partnership; and with the D-side featuring “Picture”, “Stall Out” and the title track from their debut EP, Reset, it is the perfect collector’s item for fans. –Justin Kreitzer for Icon Fetch  

The Cure – Greatest Hits & Acoustic Hits (25^th Anniversary) (Rhino)

Goth rock pioneers The Cure will mark their 50^th anniversary as a band in 2028 but in the mean time they celebrate the 25^th birthday of their 2001 Greatest Hits collection and its companion collection, Acoustic Hits with an exclusive Record Store Day release via Rhino Records.  Both 2LP collections are available now on silver-colored bio vinyl for the first time and have been remastered by frontman Robert Smith.       

The Cure’s Greatest Hits compilation features 18 tracks that span from 1980 to 2001, chronicling the band’s steady climb into the highly-influential post-punk band that fans have loved for nearly 50 years. 

Opening with their first hit, “Boys Don’t Cry,”and its jangly yet steady guitar line and empowering lyrics; Smith and company created a sound that layered infectiously catchy pop melodies laced with melancholy and danceable post-punk rhythms.  Listening to Greatest Hits is a joyful journey through the band’s evolution of sound.  As their early work becomes more pop-centered and slightly less goth-centric, the band helped to usher in the New Romantic sound on their acclaimed 80’s albums, Kiss Me Kiss Me Kiss Me and Disintegration; with signature hits like, “Why Can’t I Be You?,” “Just Like Heaven,” “Lullaby” and “Lovesong.”  

MTV welcomed The Cure into the 90’s, introducing them to new audiences and their albums from that decade are well represented by the exuberant, infatuation-filled duo of “Friday I’m In Love” from 1992’s Wish and “Mint Car” from the 1996 album, Wild Mood Swings.  Both of the tracks stand out on the acoustic collection with arrangements that don’t stray too far from the path of the beloved originals.  Also included are the tracks, “Cut Here” and “Just Say Yes” which were new songs at the time of release in 2001 and they hold up well with the classics with their dance hall-ready rhythms and insistent melodies.        

The Cure is one of those rare bands that are so highly influential that most of the bands existing today would not be who they are without the sound that The Cure curated.  These two sets – Greatest Hits and Acoustic Hits – are the perfect starting point for new fans and a cherished collectable for longtime fans.  —Justin Kreitzer for Icon Fetch      

Phoenix – United (Rhino/Parlophone)

Their first album on vinyl

United is the debut album from French indie-pop icons, Phoenix.  Rhino reissued the album on crystal clear vinyl for Record Store Day.  

The LP opens with the funky drums and distorted guitars of  the instrumental, “School’s Out,” before giving way to the dreamy hit, “Too Young” – the cascading verses pull you in, and then the shimmering chorus hits you.  This is a phenomenal single that sounds both reminiscent and fresh at the same time. Next, “Honeymoon” is surprisingly slow and soulful.  Things return to the funk with “If I Ever Feel Better,” which has a Daft Punk feel.  

“Party Time” kinda makes no sense.  Phoenix may have punk roots, but this noisy track lacks melody and really halts the momentum of this otherwise pretty cohesive album.  “On Fire” is better – a piece of mid tempo funk with some singable backup vocals.  That segues directly into the moody instrumental, “Embuscade.” 

“Summer Days” is the most underrated track here – the repetitive guitar line and mood is hypnotic.  “Funky Squaredance Pt. 1/2/3 Medley” is uh, strange.  Heavily autotuned vocals, faux steel guitar and honky tonk piano begin the nine minute piece, then we hear a crowd and we get a pretty cool instrumental.  Next, singing “funky square-dance” and a searing, heavy metal guitar, which is odd.  Things finally gel and finally sound like Phoenix near the end, but they quickly devolve.  The album closes with the sax-led “Definitive Breaks.”

United shows a band capable of dizzying heights but they only reach them a few times.  It’s uneven, but still a fun listen.  —Tony Peters

Abbey Lincoln – That’s Him! (Riverside/Craft)

All star session gives an opportunity for Lincoln to shine

Activist, singer and actress Abbey Lincoln’s second solo offering, That’s Him!, is a concept album: all nine songs are about men – some of them are good men.  Others?  Not so much.  She’s accompanied by a who’s who of classic jazz.  Craft Recordings has just reissued this fantastic album just in time for Record Store Day.

“Strong Man” leads off things, and the first instrument we hear is the great Sonny Rollins’ tenor sax.  As Lincoln croons and coos about her sexy mate, she’s joined by Kenny Dorham, echoing her vocals on trumpet.  Rollins is surprisingly subdued on this guest slot.  The rhythm section is made up of of Wynton Kelly on piano, Paul Chambers on bass, and Max Roach on drums.  Lincoln was a huge Billie Holiday fan, and she carefully handles a few songs closely associated with Lady Day.  Listen how she pauses before singing, “he beats me too,” in “My Man” – wow, just wow.  

But, the surprises don’t stop there.  “Tender as a Rose” is sung acapella (she mentions another “Joe” in this one), while “That’s Him” is beautifully seductive.  Lincoln and Roach, who were husband and wife, talk to each other on “I Must Have That Man” – she sings, he answers on the drums – back and forth.  Then, the band joins in and the tempo is frenetic.  Dorham peels off a wild solo, capturing Lincoln’s desperation perfectly.  

Dorham uses a mute on the mellow “Porgy,” while Kelly really shines on “When a Woman Loves a Man.”  The real treat is saved for last – “Don’t Explain” features pianist Kelly on a rare appearance on bass (there’s no piano on the track).  Dorham’s trumpet is somber, while Roach is on brushes.  Rollins sweetens the mood with his sax, ever so slightly.  It’s an exercise in restraint.  

The mono album was pressed on 180-gram vinyl, and mastered totally in analog by Kevin Gray at Cohearent Audio.  The heavy-grade cover features a tip-on jacket and faithfully reproduces the front and back of the original LP.  

Too often, all-star affairs like this can misfire.  Either the accompanists overshadow the singer, or the entire project collapses from the weight of the talent.  That’s Him! succeeds because Lincoln is always in command of things, and the players around her provide sympathetic backing.  That’s Him! should be in your classic jazz LP collection.  —Tony Peters

Rod Stewart – Alternate Atlantic Crossing (Rhino/Warner)

Rod Stewart reinvents himself – through a different lens

In 1975, Rod Stewart literally found himself at a crossroad: his record contact with Mercury had expired.  His beloved Faces had run out of gas.  And, he was looking for an escape from England’s oppressive tax laws.  The answer was to cross the Atlantic – hence the title of his 6th long-player.  He teamed up with studio ace, Tom Dowd, to create a fantastic album, Atlantic Crossing.  Rhino Records assembled Alternate Atlantic Crossing exclusively for Record Store Day 2026.

The “Fast Side” opens with Stewart’s story of thrice getting STD’s in “Three Time Loser” – it sounds like the same take as the LP version, sans the sax solo and slick background vocals – pushing his gritty singing more to the forefront.  “Alright For an Hour” lacks the searing guitar solo, and Stewart’s vocal is more tentative.  “All in the Name of Rock n’ Roll” is more raw, and lacks the horns that turn it into a Mott the Hoople ode.  

The most telling of these “alternates” is “Too Much Noise” – which is actually an early version of “Stone Cold Sober,” with completely different lyrics.  The song stands on its own, but the finished version is ultimately better.  “I Don’t Want to Talk About It” is very different – an odd, wah wah guitar turned out to not be a good idea – it’s kind of annoying.  They swapped it for a twin electric guitar lead that really makes the finished song.  

“It’s Not the Spotlight” lacks the mandolin overdub, but is pretty close to the released version, while “This Old Heart of Mine” omits the strings and there’s more echo on Stewart’s voice.  “Still Love You” is an oddity – Stewart’s singing is really loud and the drums are almost non-existent.  I really like this version of “Sailing,” which strips the gospel choir and harder guitar fills, letting the song breathe more.  

The album is pressed on “Drift Away Blue Vinyl” – it’s marbled and looks great.

Stewart would soon hit pay dirt with ballads like “Tonight’s the Night” and “You’re in My Heart,” and then the disco-embarrassment of “Da Ya Think I’m Sexy,” so Atlantic Crossing stands as his last great album before the plunge.  The Alternate Atlantic Crossing gives us a chance to see one of Rod Stewart’s great albums under a different light.  —Tony Peters

David Crosby, Stephen Stills & Graham Nash: The Solo Albums (Rhino/Atlantic)

One of the crown jewels of RSD 2026

The trio of Crosby, Stills & Nash arrived in 1969 and almost immediately imploded from the talent (and strong egos) in the band.  After expanding to a quartet with the addition of Neil Young, the group released the phenomenal Deja Vu before going on the first of many hiatuses.  

The Solo Albums, a Record Store Day Exclusive, is a 4-LP box set, bringing together the first release each by Crosby, Stills & Nash, plus an additional LP of rarities.  

Stephen Stills’ debut is far and away the best, as far as breadth and scope.  He tackles gospel (“Church (Pt. Of Someone”), hard rock (“Old Times, Good Times” – with Jimi Hendrix on guitar), funk (“Go Back Home” – with Eric Clapton on guitar), and delta blues (the searing “Black Queen”).  Yet, he still has time for the gorgeous “To A Flame,” and the catchy, hit single, “Love the One You’re With.”  

Graham Nash’s Songs For Beginners is the most confessional of the three.  He’d just ended a relationship with Joni Mitchell and “Simple Man” is just beautifully heartbreaking.  He tackles the war of his youth (“Military Madness”) and calls Stills and Young out for not coming to help with his cause (“Chicago”).  There’s a lot of introspection that most artists wouldn’t have the courage to attempt (“Man in the Mirror” and “I Used to Be a King”).  

David Crosby’s first solo offering, If I Could Only Remember My Name, is the most adventurous of the three.  Many of the songs have little or no words – yet the mood is eerie.  His girlfriend, Christine Hinton, had just been killed in a car accident, and Crosby was reeling from intense loss.  “Music Is Love” opens as a prayer (with help from Nash & Young), while “Cowboy Movie” transforms the members of CSNY into a lengthy Western tale.  “Tamalpais High (At About 3)” is a gorgeous, wordless piece full of dense harmony, while “Laughing” (featuring Jerry Garcia of the Grateful Dead) is the closest thing to a conventional rock song.  “Song With No Words (Tree With No Leaves)” would be attempted many times, and this is one of the best.  “I’d Swear There Was Somebody Here” is downright spooky – as if he’s communicating with his dead girlfriend through this otherworldly harmony.  

Of the rarities, Stills’ “The Treasure” is a really good song, and you wonder how it didn’t make the cut, Crosby’s “Dancer” sounds like the start of “Song With No Words,” complete with that same, strange tuning.  One of the biggest surprises is hearing Crosby’s “Everybody’s Been Burned” done by Nash.

Stills’ “My Love is a Gentle Thing” is another fine outtake, while “Kids and Dogs” is Crosby’s finest buried treasure.  Nash’s songs were already intimate, but the demo to “Sleep Song” makes you feel like you’re in the room with him while he’s writing.

The set comes housed in a cloth box, featuring all three solo albums, faithfully replicated (the gatefold on the Crosby LP is particularly nice).  There’s an accompanying booklet with an essay written by David Fricke, who’s talked extensively with the band over the years.  

The Solo Albums gives each member of CSN a chance to shine individually, at a time when they all were brimming with ideas. It’s a shame that they didn’t make more great music together.  —Tony Peters

Foreigner – Foreigner 4 Live Tour (Rhino/Atlantic)

Foreigner melts your face 

Despite the band’s huge success, Foreigner never issued a live album during their peak years.  Foreigner 4 Live Tour shows that they were capable of blistering hard rock that was only hinted at on their studio albums.  

The concert begins with “Long, Long Way From Home,” off their debut – but played at a furious intensity and pace – there’s also a frantic sax solo, but there’s no credit on who played it.  Things ramp up for “Dirty White Boy” – this is almost punk in the nasty way the band delivers the song.  Things slow down a notch for the mid tempo, “Blue Morning, Blue Day.”  I really like the way this comes off – more raw, and less polished.  “Luanne” is also faster than the album version.  

Two observations as I listen: Lou Gramm was an absolute monster vocalist.  And, Dennis Elliott needs to calm the hell down.  Some of his drumming is just too wild – it gets in the way of the songs – hitting his kick drum for effect, over and over, when he should be hitting his snare and keeping the beat.    

“Waiting For a Girl Like You” is very good in this live setting – the main melody is played on an electric piano, giving it a more earthy feel, and Gramm is incredibly soulful and restrained, his true gift as a rock vocalist.  “Starrider” gives guitarist Mick Jones a chance to sing.  In 1978 or 1982, it might’ve sounded pioneering.  Now, it’s dated, and kinda silly.

“Urgent” more than redeems things – Jones lays down a nasty guitar riff, and then Gramm just takes off, growling and wailing all the way through.  The sax solo, by Mark Rivera, faithfully captures the insane original, laid down by Junior Walker on the 4 album (we know this, because they thank him after the song).  Many of these songs are played at a much faster pace than their studio counterparts – “Double Vision” is a furious performance.  The excitement rises for the phenomenal “Juke Box Hero,” which gives you a better appreciation for the crazy high notes that Gramm is pulling off here.  

The band ends with their debut single, “Feels Like the First Time,” before encoring with an extended, crowd participating version of “Hot Blooded.”  

The gatefold sleeve is chock full of ticket stubs from the 4 tour, which is a nice touch.  

Foreigner has been one of the premier classic rock bands for decades.  Foreigner 4 Live Tour proves that they were a force to be reckoned with in concert.  —Tony Peters