J-Tull Dot Com: Another Cast of the Net showcases Jethro Tull’s 1999 album. Newly remixed by Bruce Soord, this limited 3CD+Blu-ray set includes the original mixes on CD1, the 2026 remixes on CD2, as well as a third disc of bonus material, including six completely unreleased studio tracks and three live recordings taken from the band’s tour in 2000. The Blu-ray features Dolby Atmos, 5.1 Surround Sound and 24bit stereo mixes of the main album, as well as 24bit stereo mixes of most of the bonus material.
First full concert album from Sparks, brothers Ron and Russell Mael, recorded in 2025. Live On The Moon comprises a full live set of twenty songs spanning the band’s 54 year career, including ‘This Town Ain’t Big Enough For Both Of Us’, ‘The Number One Song In Heaven’, ‘When Do I Get To Sing “My Way”‘, ‘The Girl Is Crying In Her Latte’ and songs from their most recent album MAD!
The brilliant Laura Veirs returns with Temple Songs, her first album in four years. Available on CD or Red vinyl (we have a few vinyl copies left on the SDE shop).
Second Song is a new studio album by Neil Young, his second recorded with the band The Chrome Hearts.
Produced by Lou Adler and the Volume Dealers (Neil Young & Niko Bolas) the records features seven songs and this album is being described as “semi-acoustic” which is always a tantalising propect when it comes to NY.
The title track runs to 11 minutes and you can hear it above. Second Song will be issued on CD and vinyl and is set for release on 18 September 2026, via Warner Records (more links coming).
Blu-ray • 2CD • Bundle with CD single • Playback event • Quick Pre-order
FOR FANS OF: Paul Weller, Matt Deighton, Ocean Colour Scene, classic rock/pop
The SDE Surround Series of blu-ray audios continues with The Family Silver’s 2015 album Electric Blend which is being issue on our own, SDE Records.
If you are unacquainted with the band, The Family Silver are a classic British power trio (in the tradition of Cream, The Jim Hendrix Experience and The Police) comprising singer and guitarist Matt Deighton (Mother Earth, Paul Weller, Oasis), drummer Steve White (Paul Weller, The Style Council) and bass player Damon Minchella (Ocean Colour Scene).
As with the Eg and Alice album SDE Records reissued earlier this year (now sold out), Electric Blend is another undiscovered gem of a long-player; a wonderful fusion of superior, purposeful rock (‘An Electric Blend’, ‘Give Up Your Tears’, ‘From Out Of The Blues’); feelgood soul-pop (‘Peace & Love (Don’t It Feel Good?)’, ‘A Newer Yesterday’); and atmospheric pastoral folk (the epic ‘Overshadowed’, ‘Yeah No’).
The band recorded the album in 2015 and self-released it via direct-to-fan platform PledgeMusic at the end that year. Sadly, they are yet to follow it up, although the ‘Blaze of Light’ EP, featuring six new songs, (including ‘If Only For Tomorrow’ – more on that shortly) was sold at a few gigs in 2017.
Richard Whittaker (who Atmos’d The Who’sQuadrophenia earlier this year) has remixed the entire Electric Blend album, the 6-track EP and bonus track ‘Privilege’ in immersive Dolby Atmos, 5.1 Surround and Stereo for this new blu-ray release. Additionally, it includes instrumental versions (in all three audio streams) and the original stereo mix.
Electric Blend + Blaze of Light EP + ‘Privilege’ audio streams on the SDE-exclusive blu-ray are as follows (all audio is 48/24):
2026 Dolby Atmos Mix
2026 5.1 Mix
2026 Stereo Mix
2026 Dolby Atmos Instrumental Mix
2026 5.1 Instrumental Mix
2026 Stereo Instrumental Mix
2015 Original Stereo Mix
Furthermore the blu-ray includes never before seen video footage of the band rehearsing and playing live at London’s Under The Bridge Venue in 2016. This runs for just under 30 minutes. This region-free blu-ray is #70 in the SDE Surround Series and is packaged in the usual clear amaray case with a collectible SDE Surround Series slipcase. It’s limited to 1,000 copies worldwide and will be released in October.
2CD deluxe edition
As well as the blu-ray edition, a 2CD deluxe is being made available. Presented as a high quality DVD-sized casebound book, the deluxe edition offers newly mastered versions of both the Electric Blend and Blaze of Light EP alongside previously unreleased acoustic sessions, early mixes and three non-album bonus tracks. This set features a gloss finished front cover with Pantone silver highlights. The 28 pages in the book offers a track-by-track guide to the album from all three band members via new interviews by Sean Hannam. This 2CD deluxe edition is also limited to 1,000 units worldwide and is being released alongside the blu-ray in October
4-disc Family Silver BUNDLE
Both formats can be ordered together in a special bundle on the SDE shop which ships with a FREE an exclusive 6-track CD single of ‘If Only For Tomorrow’, a wonderfully catchy song from the ‘Blaze of Light’ EP. All six tracks are previously unreleased, with four of them being unique to this CD single, including an extended mix of ‘If Only For Tomorrow’. This CD single is packaged in a stylish 6-panel digi-sleeve.
Finally, SDE has a limited number of tickets to a special Electric Blendplayback event in Central London on the release date of this reissue, which is 16 October 2026. You will get to hear selections from Electric Blend and the Blaze of Light EP in Dolby Atmos in the presence of all three band members (Matt Deighton, Steve White and Damon Minchella) who have also promise to play a song or two live using acoustic instruments! This is a one-night-only event and 45 tickets are available.
The Electric Blend blu-ray audio, the 2CD set, the BUNDLE and tickets for the playback are all exclusively available to order via the SDE shop, via this link or the buttons below.
Tracklisting
Electric BlendThe Family Silver /SDE exclusive blu-ray
VOCAL AND INSTRUMENTAL MIXES IN DOLBY ATMOS, 5.1
AND HI-RES STEREO PLUS THE ORIGINAL STEREO MIXES
Electric Blend
An Electric Blend
Only (From Out Of The Ashes)
Peace & Love (Don’t It Feel Good?)
Give Up Your Tears
From Out Of The Blues
For Free
A Newer Yesterday
Overshadowed
Let It Be Gone
Broken Windows
Washed Away
Yeah No
Blaze of Light EP & Bonus Track
In A Blaze Of Light
Small Town Man
If Only For Tomorrow
Searching For The Next Night
Tracks In The Frost
It Comes In Waves
Privilege (bonus track)
VIDEO: Live at Under The Bridge (26 mins)
Tracklisting
Electric BlendThe Family Silver /SDE exclusive 2CD deluxe edition
CD 1: ELECTRIC BLEND (newly mastered)
An Electric Blend
From Out Of The Ashes)
Peace & Love (Don’t It Feel Good?)
Give Up Your Tears
From Out Of The Blues
For Free
A Newer Yesterday
Overshadowed
Let It Be Gone
Broken Windows
Washed Away
Yeah No
CD 2: BLAZE OF LIGHT EP & BONUS TRACKS (newly mastered)
In A Blaze Of Light†
Small Town Man†
If Only For Tomorrow†
Searching For The Next Night†
Tracks In The Frost†
It Comes In Waves†
Privilege
Bronwen
Hello Though
Only (From Out Of The Ashes) (Acoustic)*
Peace & Love (Don’t It Feel Good?) (Acoustic)*
Overshadowed (Acoustic)*
An Electric Blend (Early Mix)*
Only (From Out Of The Ashes) (Early Mix)*
Give Up Your Tears (Early Mix)*
For Free (Early Mix)*
Overshadowed (Early Mix)*
*Previously unreleased
† Rare EP tracks
Tracklisting
If Only For TomorrowThe Family Silver /CD single [BUNDLE ONLY]
If Only For Tomorrow (Extended Mix)*
From Out Of The Blues (Early Mix)*
Peace & Love (Don’t It Feel Good?) (Early Mix)*
Privilege (Early Mix)*
If Only For Tomorrow (2026 Stereo Mix)
If Only For Tomorrow (2026 Instrumental Stereo Mix)
All tracks previously unreleased
*Not available anywhere else
69 Suede / Coming Up
68 Simple Minds / Once Upon A Time
67 Tina Turner / Private Dancer
66 Producers / Made in Basing Street
65 Thin Lizzy (1971 debut)
64 Bryan Ferry / Taxi
63 Bryan Ferry / Bête Noire
62 Roxy Music / Flesh + Blood
61 Tori Amos / In Times Of Dragons
60 Heaven 17 / The Luxury Gap
59 Heaven 17 / Penthouse and Pavement
58 Mark Knopfler and Emmylou Harris / All The Roadrunning
57 The Who / Quadrophenia
56 George Michael / Faith
55 Bryan Ferry / Boys and Girls
54 Thin Lizzy / Nightlife
53 Fine Young Cannibals (FYC) / The Raw & The Cooked
52 Tears For Fears / Songs From The Big Chair
51 Propaganda / A Secret Wish
50 Frankie Goes To Hollywood / Welcome to the Pleasuredome
49 Elton John / Captain Fantastic and the Brown Dirt Cowboy
48 The Who / Who Are You
47 The Human League / Dare
46 Split Enz / ENZyclopedia Volumes 1 & 2
45 Mark Knopfler / Sailing to Philadelphia
44 Matt Deighton / Today Become Forever
43 De La Soul / 3 Feet High and Rising
42 Steve Harley & Cockney Rebel / The Best Years of Our Lives
Elvis Costello’s 1977 debut, My Aim Is True, will be reissued as a 5CD box set in October.
The album features the songs ‘Alison’, ‘(The Angels Wanna Wear My) Red Shoes’, ‘Mystery Dance’ and, in the US, ‘Watching The Detectives’, which was a non-album single here in the UK.
The idea behind this box is that traces Costello’s transformation from a young computer operator through his brief attempts to break into the London ‘singer-songwriter’ scene while recording songs in his bedroom; to eventually recording three failed singles for Stiff Records; ‘Less Than Zero,’ ‘Alison,’ and ‘(The Angels Wanna Wear My) Red Shoes’ with members of the American band Clover, before forming the Attractions and having a U.K. hit single with ‘Watching The Detectives’ (on which only Costello and Steve Nieve appeared).
The My Aim Is True super deluxe features 104 “tracks, demos, masters, outtakes, live performances, interviews, and other rare recordings” half of which are previously unreleased.
CD 1 features a new 2026 remaster of the original album from the original analog tapes and adds ‘Watching The Detectives’ as the last track.
CD 2 is called The Blue Print, and gathers 17 recordings from 1975 and 1976, including 13 previously unreleased. The songs span bedroom tapes, early Pathway recordings and 13 performances from a 1976 session at the Hope & Anchor Studio.
CD 3 is dubbed The Stranger In The House and contains 28 demos, outtakes and early band recordings, 15 of which have never been released, including every surviving outtake and demo from My Aim Is True.
CD 4, Becoming The Attractions, opens with a solo performance of ‘Alison,’ from Elvis Costello’s U.K. television debut to his first live appearances under his new name to perfromances in America in late 1977 and 1978. 25 tracks, 12 previously unreleased.
The collection closes with Covered In Clover, an unreleased recording of Costello’s 2007 reunion with Clover at San Francisco’s Great American Music Hall. They performing My Aim Is True in its original U.K. sequence before concluding with ‘Watching The Detectives’.
It’s packaged in a hardcover bookset (see above) and each of this set’s five discs is accompanied by extensive new writing from Costello, alongside rare and unseen photographs, handwritten lyrics from his notebooks and diary entries from 1976, and lists of songs he was performing solo, as then he was being rejected by every publisher and A&R man in London before Stiff Records heard something in his songs.
This new deluxe set is in marked contrast to 2020’s Armed Forces super deluxe (watch the SDEtv unboxing) which contained nine pieces of vinyl and no CDs at all. Costello at the time was unmoved by fan complaints about the lack of CD option and actually doubled down, claiming that the compact disc “really is demonstrably inferior to vinyl, as a sonic storage system”. There is a vinyl version of My Aim Is True, an all-analogue LP version (the remaster is available as a single CD as well).
My Aim Is True (marketed, apparently without irony, as a 49th Anniversary Edition) will be released 2 October 2026 via UMe. It’s D2C only until Friday when it will become widely available (check back here for links).
Steve Hogarth‘s 1997 debut album (his band included Richard Barbieri and Dave Gregory) is reissued as a 3CD+blu-ray ‘media book’ edition. The CDs feature the remastered album and Live at Dingwalls, 2000 but the blu-ray is packed with demos, other live tracks and a 45 minute documentary and the H Band at the Paradiso.
This week saw the announcement of a Rubber Soul box set. It has been almost four years since Apple Corps launched a super deluxe edition of a Beatles studio album. The last time was September 2022 with Revolver (when the 5CD super deluxe edition received a lowly 1.9 / 5 rating by SDE readers). To put this in perspective, Sgt. Pepper, ‘The White Album’,Abbey Road and Let It Be were all released in a four year period (between 2017 and 2021) so to only have had one box set in the following four year period suggests that Apple’s priorities have been shifting somewhat.
It’s not that nothing has been happening, rather the project choices have been, at times, odd. The ‘Now and Then’ single of 2023 ended up leading to a massive ‘Red’ and ‘Blue’ album reissue campaign and created lots of work for Giles Martin and his team in terms of new 2023 stereo and Atmos mixes.
In 2024, Apple felt obliged to celebrate the ‘US Albums’ and then last year we had Anthology 4 and the Anthology Collection (reviewed on SDE) created to mark the fact that the original series was going to Disney+.
There was nothing inherently wrong with any of this, but the US Albums campaign felt like retreading old ground (they’d done it a decade earlier) and Apple rather annoyed fans by initially announcing that the only way to get Anthology 4 would be to buy Anthologies 1, 2 & 3 all over again (albeit remastered) in an Anthology Collection box set. They later U-turned on this strategy.
Alongside announcements about 3 Savile Row and various film projects, it has, at times, felt like the thing the Fab Four are most famous for – their music, and specifically the amazing run of studio albums between 1963 and 1970 – was no longer a priority, with wider cultural ‘legacy’ projects rising to the top. So, at push, we could call Rubber Soul a ‘back to basics’ type reissue campaign, but does it deliver what fans want?
Both vinyl and CD box sets, unsurprisingly, offer new stereo mixes of the album by Giles Martin and Sam Okell. This is fairly much par for the course these days, and every other format uses this mix as the ‘main’ mix for the album. But what of the two other stereo remixes? The original 1965 stereo mix (which by stealth appeared in The Beatles in Mono CD box) and George Martin’s 1987 stereo remix (which was remastered and reissued on CD and vinyl in 2009) are nowhere to be found on any format. No one is saying that we necessarily need these on separate CDs or vinyl LPs in the big box sets, but surely there was a place for them on the blu-ray edition, with its enormous capacity for audio and video? (more on that format, shortly). In 2021, when I asked Giles Martin if Let It Be actually needed a stereo remix [full interview here] his answer was “Does it need remixing? Erm… it’s not for me to say, really; I just get asked to do it”.
The charge of ‘erasing history’ by superseding original mixes of The Beatles’ albums with new mixes is normally batted away with a defensive “the originals are still available”, but is that actually the case and how easy is it for the average punter to even tell the difference between old and new product? If you search for ‘Revolver’ on Amazon in the UK the first five listings are versions of the 2022 reissue, all of which use the 2022 new stereo remix as the ‘main’ version of the album, and the single CD edition is around £13. Fifth in the search results is a CD copy of the 2009 remaster (with the 1987 stereo mix), which is only available via a third-party seller and costs £25. There’s nothing in the blurb to make it clear that you are getting the older mix, so a casual fan looking for a copy of Revolver on CD will almost certainly buy the £13 listing and perhaps not understand the distinction between the two versions. It’s a similar story with vinyl. The new stereo mix is very good in my opinion, but that’s not the point.
There’s always this feeling with new Beatles product that they want you to forget about what has come before. If you recall, two songs from Rubber Soul (‘Think For Yourself’ and ‘Nowhere Man’) were completely remixed in stereo for the 1999 Yellow Submarine ‘Songtrack’ release. These were stunning at the time and while I’m sure Giles Martin would argue that both are now redundant due to advances in technology (particularly ‘de-mixing’) would it have killed Apple to have included them somewhere in this reissue, as a nod to the history of the audio evolution of tracks from Rubber Soul?
On a more positive note, the original mono mix of Rubber Soulis included in both the 4CD and 5LP box sets, but again not on the blu-ray, which we should probably talk about. First off, it’s great news that after the bemusing disappointment of no physical blu-ray in Revolver (or for that matter the ‘Red’ and ‘Blue’ albums) the format returns for Rubber Soul. Reading the comments on SDE during this week, there’s some debate around whether it’s a good or bad thing that it’s standalone and not part of the box set but personally I welcome this. The box sets are already quite expensive, so including a blu-ray in them would just make it even more pricey and, let’s be honest, there will be plenty of fans who want the vinyl or CD boxes but are not interested in immersive audio. Also, even when blu-rays were included in the big boxes, they were only ever in the CD super deluxe not the vinyl one. That issue is side-stepped by making it a standalone product.
In terms of the blu-ray content, while it’s a great format and still well worth buying, you have to say it’s a little bit disappointing. There’s no 5.1 mix which is crazy, because they are relatively easy to create from an existing Atmos Mix, albeit I imagine nothing is ‘easy’ in the world of approvals with the surviving Beatles and John and George’s Estates. More annoying is the lack of mono mix of Rubber Soul. That really should have been included alongside mono mixes of what they are calling ‘The Single’, which means the songs from the double A-side: ‘We Can Work It Out’ and ‘Day Tripper’. The past is ignored, so on the blu-ray, the album and the single only exist in mixes created in the last three years.
I imagine that internally, the thought process was that offering too much (It’s All Too Much?) content on the blu-ray for a £29.99 price point would threaten sales of the big boxes which have a higher price tag (circa £135 and £200 for CD and vinyl sets). Apple are in the business of trying to make money, after all. But both boxes already have 26 tracks of sessions/demos/outtakes not on the blu-ray, so I’m not convinced. And let’s throw in the fact that the 2CD set – which is even cheaper than the blu-ray – offers 14 of those sessions/demos/outtakes denied to blu-ray buyers. There’s a strong argument to be made that the blu-ray should have included the 14 tracks from the 2CD as bonus content. And, as stated earlier, the blu-ray would have made a great home to both the original 1965 stereo mix and the 1987 remix, for archival purposes, so it’s sad that’s not happening. The videos of ‘We Can Work It Out’ and ‘Day Tripper’ are, of course, very welcome.
The final comment is that, until recently, Apple were always relatively restrained with single LP vinyl formats when it came to The Beatles; we had some picture discs, but that has mostly been it. But for Rubber Soul we are getting coloured vinyl and ‘Zoetrope’ versions, in addition to the normal black vinyl editions. That’s still far from Macca / Rolling Stones madness when it comes to multiple vinyl options, but maybe there’s more to come, such as a Blood Records announcement? We’ll have to wait and see.
Rubber Soul will be reissued on 2 October 2026 via UMR/Calderstone. More product details are here on the SDE post, and you can pre-order various formats from the links below.
All tracks below in Dolby Atmos (48/24) and 96/24 stereo (both newly mixed by Giles Martin and Sam Okell). The stereo version is the same non-limited file(s) used to cut the vinyl.
2026 Atmos & 2026 Stereo
Drive My Car
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Nowhere Man
Think For Yourself
The Word
Michelle
What Goes On
Girl
I’m Looking Through You
In My Life
Wait
If I Needed Someone
Run For Your Life
BONUS TRACKS (2023 Atmos & 2023 Stereo)
Day Tripper
We Can Work It Out
VIDEO CONTENT (sync’d to 2023 Atmos & 2023 Stereo)
Day Tripper
Day Tripper (Alternate Version)
We Can Work It Out
We Can Work It Out (Alternate Version)
Tracklisting
Rubber SoulThe Beatles/
CD 1: New stereo mix
Drive My Car
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Nowhere Man
Think For Yourself
The Word
Michelle
What Goes On
Girl
I’m Looking Through You
In My Life
Wait
If I Needed Someone
Run For Your Life
CD 2: Sessions, Demos and the Single
Wait (Take 3 – instrumental backing track)
Run For Your Life (Takes 1-5 – instrumental backing track)
Norwegian Wood (This Bird Has Flown) (First version – Take 1)
Norwegian Wood (This Bird Has Flown) (Second version – Take 2)
Norwegian Wood (This Bird Has Flown) (Third version – Take 3)
Drive My Car (Takes 1 and 2 – instrumental backing track)
Day Tripper (Songwriting work tape)
Day Tripper (Take 1 – instrumental backing track)
Day Tripper (Takes 2 and 3 – instrumental backing track)
If I Needed Someone (Take 1 – instrumental backing track)
In My Life (Take 1)
In My Life (Extract with unused organ solo)
We Can Work It Out (Paul’s demo)
We Can Work It Out (Take 1 – instrumental backing track)
Nowhere Man (First version – Take 2)
Nowhere Man (Second version – Take 5 – instrumental backing track)
I’m Looking Through You (First version – Take 1)
I’m Looking Through You (Second version – Take 2)
I’m Looking Through You (Second version – Take 3)
Michelle (Guitar rehearsal)
Michelle (Take 1)
What Goes On (Take 1 – instrumental backing track)
The Word (Takes 1 and 2 – instrumental backing track)
Girl (Take 2 – instrumental backing track)
Beatle Talk (Think For Yourself vocal overdubs)
Little Girl (John’s demo)
Day Tripper (2023 mix)
We Can Work It Out (2023 mix)
CD 3: Original Mono Master
Drive My Car
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Nowhere Man
Think For Yourself
The Word
Michelle
What Goes On
Girl
I’m Looking Through You
In My Life
Wait
If I Needed Someone
Run For Your Life
CD 4: Original Capitol US Album
I’ve Just Seen A Face
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Think For Yourself
The Word
Michelle
It’s Only Love
Girl
I’m Looking Through You
In My Life
Wait
Run For Your Life
LP 1: New stereo mix
Side A
Drive My Car
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Nowhere Man
Think For Yourself
The Word
Michelle
Side B
What Goes On
Girl
I’m Looking Through You
In My Life
Wait
If I Needed Someone
Run For Your Life
LP 2: Sessions, Demos and The Single (Disc 1)
Side A
Wait (Take 3 – instrumental backing track)
Run For Your Life (Takes 1-5 – instrumental backing track)
Norwegian Wood (This Bird Has Flown) (First version – Take 1)
Norwegian Wood (This Bird Has Flown) (Second version – Take 2)
Norwegian Wood (This Bird Has Flown) (Third version – Take 3)
Drive My Car (Takes 1 and 2 – instrumental backing track)
Day Tripper (Songwriting work tape)
Side B
Day Tripper (Take 1 – instrumental backing track)
Day Tripper (Takes 2 and 3 – instrumental backing track)
If I Needed Someone (Take 1 – instrumental backing track)
In My Life (Take 1)
In My Life (Extract with unused organ solo)
We Can Work It Out (Paul’s demo)
We Can Work It Out (Take 1 – instrumental backing track)
LP 3: Sessions, Demos and The Single (Disc 2)
Side A
Nowhere Man (First version – Take 2)
Nowhere Man (Second version – Take 5 – instrumental backing track)
I’m Looking Through You (First version – Take 1)
I’m Looking Through You (Second version – Take 2)
I’m Looking Through You (Second version – Take 3)
Michelle (Guitar rehearsal)
Michelle (Take 1)
Side B
What Goes On (Take 1 – instrumental backing track)
The Word (Takes 1 and 2 – instrumental backing track)
Girl (Take 2 – instrumental backing track)
Beatle Talk (Think For Yourself vocal overdubs)
Little Girl (John’s demo)
LP 4: Mono Mix
Side A
Drive My Car
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Nowhere Man
Think For Yourself
The Word
Michelle
Side B
What Goes On
Girl
I’m Looking Through You
In My Life
Wait
If I Needed Someone
Run For Your Life
LP 5: Original Capitol US Album
Side A
I’ve Just Seen A Face
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Think For Yourself
The Word
Michelle
Side B
It’s Only Love
Girl
I’m Looking Through You
In My Life
Wait
Run For Your LifeB
7″ single
Side A
Day Tripper
Side AA
We Can Work It Out
CD 1: New Stereo Mix
Drive My Car
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Nowhere Man
Think For Yourself
The Word
Michelle
What Goes On
Girl
I’m Looking Through You
In My Life
Wait
If I Needed Someone
Run For Your Life
CD 2: The Single, Demos and Sessions Highlights
Day Tripper (Songwriting work tape)
Day Tripper (2023 mix)
We Can Work It Out (Paul’s demo)
We Can Work It Out (2023 mix)
Wait (Take 3 – instrumental backing track)
Run For Your Life (Takes 1-5 – instrumental backing track)
Norwegian Wood (This Bird Has Flown) (Second version – Take 2)
Drive My Car (Takes 1 and 2 – instrumental backing track)
If I Needed Someone (Take 1 – instrumental backing track)
In My Life (Take 1)
Nowhere Man (Second version – Take 5 – instrumental backing track)
Michelle (Take 1)
What Goes On (Take 1 – instrumental backing track)
I’m Looking Through You (Second version – Take 3)
The Word (Takes 1 and 2 – instrumental backing track)
Girl (Take 2 – instrumental backing track)
LP 1: New Stereo Mix
Side A
Drive My Car
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Nowhere Man
Think For Yourself
The Word
Michelle
Side B
What Goes On
Girl
I’m Looking Through You
In My Life
Wait
If I Needed Someone
Run For Your Life
LP 2: The Single, Demos and Sessions Highlights
Side A
Day Tripper (Songwriting work tape)
Day Tripper (2023 mix)
We Can Work It Out (Paul’s demo)
We Can Work It Out (2023 mix)
Wait (Take 3 – instrumental backing track)
Run For Your Life (Takes 1-5 – instrumental backing track)
Norwegian Wood (This Bird Has Flown) (Second version – Take 2)
Drive My Car (Takes 1 and 2 – instrumental backing track)
If I Needed Someone (Take 1 – instrumental backing track)
Side B
In My Life (Take 1)
Nowhere Man (Second version – Take 5 – instrumental backing track)
Michelle (Take 1)
What Goes On (Take 1 – instrumental backing track)
I’m Looking Through You (Second version – Take 3)
The Word (Takes 1 and 2 – instrumental backing track)
The Beatles’ 1965 album Rubber Soul will be reissued in October across a number formats, including, for the first time for the Fab Four, a standalone blu-ray audio.
The album has been newly mixed by Giles Martin and Sam Okell in Atmos and Stereo and the key formats are as follows
4CD super deluxe box with new stereo mix, a disc of sessions/demos, ‘the single’ + mono mix and US version
5LP + 7″ super deluxe. As above, except on vinyl
2LP and 2CD versions with a second disc of session/demos highlights & ‘the single’
Blu-ray Audio with 2026 Atmos & 2026 Stereo mixes + ‘the single’ + videos
All of the new Rubber Soul formats feature the album’s new stereo mix, sourced directly from the original four-track master tapes. The audio has been remixed with the help of de-mixing technology developed by the award-winning sound team led by Emile de la Rey at Peter Jackson’s WingNut Films Productions Ltd.
Rubber Soul 4CD super deluxe box set (click image to enlarge)
The super deluxe box set versions feature 24 early session recordings, including 20 previously unreleased takes and three previously unreleased home demos – among them early versions of Day Tripper and We Can Work It Out, plus Little Girl, a previously unheard John Lennon song outline never before released or even rumoured. The boxes also include the original mono album (but not the original 1965 stereo mix, last seen in the 2009 Mono CD box), the original Capitol US album version and the 1965 double A-side single.
Both box sets offer an 88-page hardbound book featuring a brand new written introduction by Paul McCartney, and a foreword compiled from John Lennon’s own words, alongside rare photographs, in-depth album background and track notes.
In addition to the above formats, there’s also single CD and single LP versions, and some D2C vinyl versions including a Zoetrope edition.
Rubber Soul will be reissued on 2 October 2026 via UMR/Calderstone. Pre-order the blu-ray and special bundles via the SDE shop using this link or the buttons below. The Suede blu-ray pre-order ENDS today.
All tracks below in Dolby Atmos (48/24) and 96/24 stereo (both newly mixed by Giles Martin and Sam Okell). The stereo version is the same non-limited file(s) used to cut the vinyl.
2026 Atmos & 2026 Stereo
Drive My Car
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Nowhere Man
Think For Yourself
The Word
Michelle
What Goes On
Girl
I’m Looking Through You
In My Life
Wait
If I Needed Someone
Run For Your Life
BONUS TRACKS (2023 Atmos & 2023 Stereo)
Day Tripper
We Can Work It Out
VIDEO CONTENT (sync’d to 2023 Atmos & 2023 Stereo)
Day Tripper
Day Tripper (Alternate Version)
We Can Work It Out
We Can Work It Out (Alternate Version)
Tracklisting
Rubber SoulThe Beatles/
CD 1: New stereo mix
Drive My Car
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Nowhere Man
Think For Yourself
The Word
Michelle
What Goes On
Girl
I’m Looking Through You
In My Life
Wait
If I Needed Someone
Run For Your Life
CD 2: Sessions, Demos and the Single
Wait (Take 3 – instrumental backing track)
Run For Your Life (Takes 1-5 – instrumental backing track)
Norwegian Wood (This Bird Has Flown) (First version – Take 1)
Norwegian Wood (This Bird Has Flown) (Second version – Take 2)
Norwegian Wood (This Bird Has Flown) (Third version – Take 3)
Drive My Car (Takes 1 and 2 – instrumental backing track)
Day Tripper (Songwriting work tape)
Day Tripper (Take 1 – instrumental backing track)
Day Tripper (Takes 2 and 3 – instrumental backing track)
If I Needed Someone (Take 1 – instrumental backing track)
In My Life (Take 1)
In My Life (Extract with unused organ solo)
We Can Work It Out (Paul’s demo)
We Can Work It Out (Take 1 – instrumental backing track)
Nowhere Man (First version – Take 2)
Nowhere Man (Second version – Take 5 – instrumental backing track)
I’m Looking Through You (First version – Take 1)
I’m Looking Through You (Second version – Take 2)
I’m Looking Through You (Second version – Take 3)
Michelle (Guitar rehearsal)
Michelle (Take 1)
What Goes On (Take 1 – instrumental backing track)
The Word (Takes 1 and 2 – instrumental backing track)
Girl (Take 2 – instrumental backing track)
Beatle Talk (Think For Yourself vocal overdubs)
Little Girl (John’s demo)
Day Tripper (2023 mix)
We Can Work It Out (2023 mix)
CD 3: Original Mono Master
Drive My Car
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Nowhere Man
Think For Yourself
The Word
Michelle
What Goes On
Girl
I’m Looking Through You
In My Life
Wait
If I Needed Someone
Run For Your Life
CD 4: Original Capitol US Album
I’ve Just Seen A Face
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Think For Yourself
The Word
Michelle
It’s Only Love
Girl
I’m Looking Through You
In My Life
Wait
Run For Your Life
LP 1: New stereo mix
Side A
Drive My Car
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Nowhere Man
Think For Yourself
The Word
Michelle
Side B
What Goes On
Girl
I’m Looking Through You
In My Life
Wait
If I Needed Someone
Run For Your Life
LP 2: Sessions, Demos and The Single (Disc 1)
Side A
Wait (Take 3 – instrumental backing track)
Run For Your Life (Takes 1-5 – instrumental backing track)
Norwegian Wood (This Bird Has Flown) (First version – Take 1)
Norwegian Wood (This Bird Has Flown) (Second version – Take 2)
Norwegian Wood (This Bird Has Flown) (Third version – Take 3)
Drive My Car (Takes 1 and 2 – instrumental backing track)
Day Tripper (Songwriting work tape)
Side B
Day Tripper (Take 1 – instrumental backing track)
Day Tripper (Takes 2 and 3 – instrumental backing track)
If I Needed Someone (Take 1 – instrumental backing track)
In My Life (Take 1)
In My Life (Extract with unused organ solo)
We Can Work It Out (Paul’s demo)
We Can Work It Out (Take 1 – instrumental backing track)
LP 3: Sessions, Demos and The Single (Disc 2)
Side A
Nowhere Man (First version – Take 2)
Nowhere Man (Second version – Take 5 – instrumental backing track)
I’m Looking Through You (First version – Take 1)
I’m Looking Through You (Second version – Take 2)
I’m Looking Through You (Second version – Take 3)
Michelle (Guitar rehearsal)
Michelle (Take 1)
Side B
What Goes On (Take 1 – instrumental backing track)
The Word (Takes 1 and 2 – instrumental backing track)
Girl (Take 2 – instrumental backing track)
Beatle Talk (Think For Yourself vocal overdubs)
Little Girl (John’s demo)
LP 4: Mono Mix
Side A
Drive My Car
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Nowhere Man
Think For Yourself
The Word
Michelle
Side B
What Goes On
Girl
I’m Looking Through You
In My Life
Wait
If I Needed Someone
Run For Your Life
LP 5: Original Capitol US Album
Side A
I’ve Just Seen A Face
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Think For Yourself
The Word
Michelle
Side B
It’s Only Love
Girl
I’m Looking Through You
In My Life
Wait
Run For Your LifeB
7″ single
Side A
Day Tripper
Side AA
We Can Work It Out
CD 1: New Stereo Mix
Drive My Car
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Nowhere Man
Think For Yourself
The Word
Michelle
What Goes On
Girl
I’m Looking Through You
In My Life
Wait
If I Needed Someone
Run For Your Life
CD 2: The Single, Demos and Sessions Highlights
Day Tripper (Songwriting work tape)
Day Tripper (2023 mix)
We Can Work It Out (Paul’s demo)
We Can Work It Out (2023 mix)
Wait (Take 3 – instrumental backing track)
Run For Your Life (Takes 1-5 – instrumental backing track)
Norwegian Wood (This Bird Has Flown) (Second version – Take 2)
Drive My Car (Takes 1 and 2 – instrumental backing track)
If I Needed Someone (Take 1 – instrumental backing track)
In My Life (Take 1)
Nowhere Man (Second version – Take 5 – instrumental backing track)
Michelle (Take 1)
What Goes On (Take 1 – instrumental backing track)
I’m Looking Through You (Second version – Take 3)
The Word (Takes 1 and 2 – instrumental backing track)
Girl (Take 2 – instrumental backing track)
LP 1: New Stereo Mix
Side A
Drive My Car
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Nowhere Man
Think For Yourself
The Word
Michelle
Side B
What Goes On
Girl
I’m Looking Through You
In My Life
Wait
If I Needed Someone
Run For Your Life
LP 2: The Single, Demos and Sessions Highlights
Side A
Day Tripper (Songwriting work tape)
Day Tripper (2023 mix)
We Can Work It Out (Paul’s demo)
We Can Work It Out (2023 mix)
Wait (Take 3 – instrumental backing track)
Run For Your Life (Takes 1-5 – instrumental backing track)
Norwegian Wood (This Bird Has Flown) (Second version – Take 2)
Drive My Car (Takes 1 and 2 – instrumental backing track)
If I Needed Someone (Take 1 – instrumental backing track)
Side B
In My Life (Take 1)
Nowhere Man (Second version – Take 5 – instrumental backing track)
Michelle (Take 1)
What Goes On (Take 1 – instrumental backing track)
I’m Looking Through You (Second version – Take 3)
The Word (Takes 1 and 2 – instrumental backing track)
Queen’s 1986 concert in Budapest – previously released on VHS and Laserdisc as Live in Budapest and then on blu-ray and DVD as Hungarian Rhapsody: Live in Budapest – has been restored for a new release simply called QueenBudapest.
Captured on 27 July 1986 at Budapest’s Népstadion, during the band’s ‘The Magic Tour’, the concert was the last filmed live performance of the band with Freddie Mercury, showing the band at the height of their powers as a live act. Queen also became the first Western rock band to perform behind the Iron Curtain, with 80,000 tickets sold and an estimated 45,000 listening outside.
The filmed footage (directed by János Zsombolyai) has been “meticulously restored” from the original filmed 35mm footage by Sir Peter Jackson’s Park Road Post Production facility in New Zealand, with newly remixed audio from the original multitrack recordings available across the various formats.
The audio will be available on 2CD and 3LP vinyl formats and the concert film will be available on three home video formats: DVD, blu-ray and 4K UHD blu-ray. It’s good to see the 4K version available simultaneously and this version can be pre-ordered from the SDE shop. Both blu-rays feature Dolby Atmos, 5.1 and Stereo audio while the DVD has 5.1 and stereo.
Peter Jackson’s team have done a magnificent job of restoring the original film footage, at the highest resolution ever; it’s pristine and the quality is breathtaking. I think you’re going to love it. For the sound, we’ve been able to do some top quality restoration work as well.
Brian May
Queen Budapest will be released on 6 November 2026 (was 30 Oct) via Sony. Pre-order the 4K blu-ray via the SDE shop using this link or the button below.
The Yes Album, Fragile and Close to the Edge are released as standalone blu-rays with Atmos, 5.1, Stereo mixes, and in some cases, instrumentals. Bundle available on the SDE shop.
From Genesis to Revelation, the 1969 album from Genesis will be reissued in October.
This campaign is the first re-issue of the album, prepared with co-operation and approval of original band members Tony Banks, Peter Gabriel, Anthony Phillips and Mike Rutherford.
Stephen W Tayler has created new stereo, 5.1 Surround Sound and Dolby Atmos mixes of the album with a remit to “focus more on the band contributions with less emphasis on the orchestrations of the original album mixes”. All three of these new mixes are included in the 4CD+blu-ray box set.
The set includes remixes of ‘A Winter’s Tale’, ‘One Eyed Hound’ and album out-takes ‘Image Blown Out’ and ‘Visions of Angels’ (previously unreleased) along with new remasters of the original stereo mix and the rare mono mix of the album and associated singles, along with a CD of demos from 1967 and 1968, four of which are previously unreleased and mixed by Stephen W Tayler.
The blu-ray obviously features the new Dolby Atmos and 5.1 Surround and Stereo mixes of the album but also includes bonus video content of Tony Banks, Peter Gabriel and Mike Rutherford at AIR Studios in London discussing the album and reviewing the new mixes. Finally, the set features a 68-page illustrated book with an extensive essay by Jon Dann with contributions from Tony Banks, Peter Gabriel, Anthony Phillips and Mike Rutherford.
A 2CD deluxe is also available which pairs Steven W Tayler’s new stereo mix (and the four bonus tracks) with the remastered original stereo. A 2LP edition offers the new stereo mix on LP 1 and the four bonus tracks on the second vinyl record (effectively a 12-inch EP).
From Genesis to Revelation will be released on 9 October 2026 via Esoteric.
In 4CD guise (deluxe hardcover book or cheaper card sleeve version) this contains 80 track including some classic from the likes of Elton John, Paul McCartney, Rod Stewart, T. Rex, Neil Diamond, John Denver, Cat Stevens, Carly Simon, Marvin Gaye, Isaac Hayes, Deep Purple, Free, Janis Joplin, The Four Tops, The Temptations, Slade, Sweet, Bill Withers, The Jackson 5, The New Seekers and more.
A 3LP version, offers a cut down selection of 50 songs and is pressed on yellow vinyl.
NOW Yearbook 1971 will be released on 28 August 2026, in CD form, with the vinyl version going back to 2 October.
Wham!’s April 1985 trip to China is one of the more interesting episodes in the band’s relatively short lifespan. On the face of it, this was a cultural exchange: an East meets West excursion in search of understanding and common ground, but the reality was a little less romantic. The visit was conceived by Wham’s co-manager Simon Napier Bell as one gigantic publicity stunt designed to generate headlines and front-pages around the world – a short-cut to Wham! ‘Making It Big’, particularly in America. And it worked.
For reasons still unclear to this day, the services of Oscar-winning filmmaker Lindsey Anderson were secured to make a documentary film of the trip. Anderson is best known for his counter-culture classic If…. (1968), part one of an acclaimed ‘Mick Travis Trilogy’ (1973’s O Lucky Man!, and Britannia Hospital from 1982 being the other two films). Producer Martin Lewis appears to have been a fan and Anderson’s documentary work from the 1950s (he won his Oscar for Thursday’s Children, a film concerning the education of deaf children) would likely have been a factor in the decision.
This commission was beset with issues. As became apparent, Anderson had no real interest in Wham! and George Michael and Andrew Ridgeley disliked him. That he hurt his foot early in the trip didn’t help; for a while the director had to be pushed around in a wheelchair (he later managed to walk with a cane) and in posthumously published diary entries Anderson admitted he simply took the job for the money.
Nevertheless, Lindsay did pull together an almost finished documentary, which he called ‘If You Were There’. It ran for one hour and 18 minutes and I’m lucky enough to have seen this cut. It covers most of the key aspects of the trip (arriving at the airport, checking in at the hotel, visiting the Great Wall Of China, lunch at the Ambassador’s residence, out and about mixing with locals, the two gigs, etc.) but, as George and Andew perhaps should have expected, Anderson is very interested in China and there’s a lot of it in his cut. He occasionally uses his film to make some socio-economic points (footage of Wham! performing ‘Everything She Wants’ is given the subtitle ‘To Give You Money’ and is intercut with shots of TVs and large ghetto blasters being available in shops in China) and British Wham! fans looking forward to watching their idols play in China probably didn’t want to see shots of dogs hanging up waiting to be butchered and snakes being skinned alive.
I actually liked Anderson’s cut and with some small adjustments it could have been a compelling documentary, but the reality was that is not what Wham! were after. They wanted something approaching an extended promo video with ‘China’ as window dressing. Anderson was fired from the project during post-production and George and the band’s management team, took control of the edit and, using the footage that had been shot, they fashioned exactly that: Wham! in China: Foreign Skies was a rather bland 60-minute cut where the viewer is left to work out what is happening (Anderson’s cut at least has a structure and title cards) and removes anything is likely to paint Wham! in a negative light (for example, no George and Andrew in the back of a car joshing about how the only reason there are there was for “the publicity”). Foreign Skies was previewed over a year later at Wham!’s The Final show at Wembley Stadium, and issued on VHS, Betamax and Laserdisc in October 1986. After that, it was rarely spoken of and never reissued.
Cut to 2026, and over 40 years later, filmmaker Mike Christie (Hansa Studios: By the Wall 1976–90, New Order: Decades and Suede: The Insatiable Ones) announces that he has made what will be officially the third version of the Wham! in China film. Wham! 10 Days in China takes a retrospective look at the trip using restored and never-before-seen archive footage, combined with interviews with those who experienced the tour firsthand, including Andrew Ridgeley, Pepsi and Shirley, some of the producers/assistants, members of the press and most notably some Chinese fans for whom the experience left an indelible mark.
Next week, Mike’s film will hit cinemas and will be broadcast on BBC Two and BBC iPlayer in the UK in August. I recently spoke to Mike about his film – enjoy this long read:
SDE: How did Wham! 10 Days in China come about? Was it something that you sought out?
Mike Christie: It’s one of those mythological kinds of projects; everybody knew that this trip had been filmed and that the rushes [raw, unedited visual and audio footage recorded during shooting] had been pretty much buried. It goes back to January 2023 for us: Fred, the development producer I was working with at that point, he mentioned it. It became slightly more relevant coming up to the 40th anniversary. I think after the 40th anniversary, you can’t really be sure there’ll be many people left to tell the story, so we got in touch to explore it. What made a difference was the fact that I had already made multiple documentaries in China [including The Art of China with Andrew Graham-Dixon 2014] and the notion of there being multiple perspectives, including the Chinese perspective. That caught Andrew [Ridgeley]’s interest because, as you know from the previous two films, that hadn’t been portrayed. So, we went through the process. Ultimately, the GM Estate and George’s sister, Yioda, had to sign up for it. And everybody was aware of the different sensitivities of the history of the project.
There was no real way of truly understanding the trip when they were there
Mike Christie
SDE: I’m interested in those sensitivities, because arguably George and Andrew don’t necessarily come across too positively in the film. They wander around slightly bemused, bewildered and on occasions frustrated. They openly admit that they’re just there for publicity and Andrew even says it to someone [in a scene at the British Ambassador’s residence] that “we’re not really here for their [meaning the Chinese fans’] reaction”.
MC: I think that’s a line that’s consistent all the way through, certainly through my film. What was intriguing was that from the moment he saw the first cut, I always wondered whether Andrew might censor himself. But he was like, “no, that’s the honest version”. And he never cut anything. Which surprised me.
SDE:I’m wondering if one of the reasons Andrew was interested in coming back to Wham! in China was because of a sense of guilt around the fact that it was pure commercial opportunism and maybe they didn’t think about the Chinese people and the Chinese aspect as much as they should have?
MC: Andrew was open in our interviews about the fact that he really wasn’t sure the trip was a good idea, but I don’t know if it was guilt. I think there was definitely a curiosity. Andrew felt a really strong urge to revisit it, that was clear, and I think that’s partly why the Chinese perspective worked within the mix for him. But I think it might have been that there was no real way of truly understanding the trip when they were there. And that’s reflected in the first two films [If You Were There and Foreign Skies] which make no effort to understand it.
SDE: They’re both extremely young at the time. It’s a bit like your parents making you go on a holiday somewhere that you’re not interested in. There’s that “Why are we here, exactly?” vibe going on.
MC: And they cope extraordinarily. I mean, Andrew’s 22 years old, George is 21. I found it really staggering, when you’re looking through these rushes, watching their relationship – it’s very solid. Andrew has got a clear set of values, which I think he holds to this day. George has a very clear sense of himself, the band and his own values as well. It’s kind of refreshing how honest they were in all that footage; they’re not pretending and when they must put a ‘PR smile’ on, they’re admitting to it.
SDE: They are polite, friendly with the locals and patient when having to go through the rigmarole of meeting the dignitaries and all that kind of stuff.
MC: And there is so much more of that. I’ve lost track of the number of banquets that we had rushes for. It took us a while to settle on the title for this film but the fact that having been on tour, I’m used to itineraries and I thought “it feels like an itinerary”. You can imagine what the actual itinerary was like: there was probably five things a day!
SDE: With Foreign Skies, the original cut, did you have to go back and re-educate youIrself about what that film was? Obviously, it’s not widely available, although it can be found on YouTube.
MC: For a long time during the development period, we only had Foreign Skies. Fred, the development producer had done this pilgrimage to Stirling University [the only place it is possible to view Lindsey Anderson’s original version] which is a long way – it was quite a rigmarole. But Andrew always had a copy of that, so eventually just before we started, he was able to share it. Obviously, I watched them, more than once but I made a point of very rarely revisiting them once we got into pre-production, because you don’t want to be influenced. There was a lot about Lindsay’s edit – I don’t think it’s cut, but the edit – that kind of appealed and there’s some things that I just thought were weird. I mean, it’s pretty obvious he was completely the wrong choice to make the film. And I think the big telling thing is the bit of interview we used of Lindsay at the end where he gets asked by one of the crew, something along the lines of “what is it you’re doing”. And he kind of goes, “Oh, I don’t know. I’ve been asking myself that for a couple of weeks”. He admitted he was only doing it for the money before he went and towards the very final days, he didn’t really know why he was there. So, it was kind of doomed to fail. It was always a complete mismatch.
It’s pretty obvious that Lindsay Anderson was completely the wrong choice to make the original film.
Mike Christie
Anyway, I watched them and for quite a long time, we weren’t sure what was going to be in these film cans [the rushes]. So, we were tracking down high-quality versions of these two cuts, because we thought that we would have to use them – we’d be cutting some of the scenes [from the previous finished films]. But it took seven months, for all the transfers and for an incredible restoration process and as it worked out, we were probably halfway through the edit before we realised we were never going to need to use clips from either of the pre-existing films, because there was stuff coming in constantly. We realised that we really could focus on the story of those ten days. I thought we’d do more preamble, we thought we’d do more aftermath, but we covered that off in the interviews. So, there was no need for me to revisit the films too much. But I’m like this when I’m making a film about anything. I try not to get too influenced by stuff, especially since this is a unique film. I mean, I was quite worried. I wondered if I was putting myself in a kind of poisoned chalice situation. It was quite stressful.
SDE: As a fellow filmmaker, do you have much sympathy for what happened with Lindsay Anderson?
MC: I’ve got mixed feelings. Ultimately, I think there’s no doubt about his talents; his abilities. I mean, that’s pretty obvious, given his pedigree.
SDE: He won an Oscar…
MC: Exactly. And more than one of those movies are good. Do I have sympathy? It’s sort of it’s a weird one. I don’t think he should have taken the project, but he clearly needed to. I think he made a mistake and I don’t think he could recover from it. I don’t think he had the ability to make something in the modern world of the 1980s, and I think he let himself down – but I think he knew that. I think when you look at the three films as a triptych, if you like, the only one that actually tells a story is the new film.
SDE: With your film, there’s a few different layers to it. You’re telling a story that’s already been told, but then you’re also stepping back and from high up looking down on what happened. What are the challenges in terms of that approach, compared to making a normal documentary where you’re just going at it fresh, without the baggage of other stuff that exists?
MC: It depends how you want to view it. For me, it’s like a crime scene: 40 years ago, they went to China and bagged the evidence. But then no one ever analysed it. So, the challenges are innumerable on a narrative, technical and personal levels. I had to think long and hard about style for the film. I don’t know if you, how much you’ve observed the style of the ten days film, but…
It’s like a crime scene: 40 years ago, Wham! went to China and bagged the evidence, but then no one ever analysed it.
Mike Christie
SDE: I was going to ask you about that. You’ve obviously got the talking head cutaways for the interviews. There’s a trend these days to maybe not do that so much. An example being the Paul McCartney film, Man on the Run, which I think is all done with voiceover…
MC: Also like the Senna film [Asif Kapadia’s acclaimed 2010 Ayrton Senna documentary]. The Wham! film [Chris Smith’s 2023 Netflix documentary] was the same thing, it was voices only and an archive. We talked about it; it would have been entirely doable, but we made a conscious decision at the beginning, not to. I think it’s interesting to see people’s faces. I think you do get something [extra]. It’s the difference between a phone call and a meeting in person, right? Your body language tells you quite a lot and you lose that for a start.
I don’t know if you noticed, but one of the things we worked really hard on, and it was really hard to do, was not to have a ‘then and now’ feeling where the archive exists in this odd bubble and then you cut to an interview shot in somebody’s beautiful apartment in Paris or a five-star hotel. The most recent example of this is the Kylie documentary. Our idea was to bring it into a single, timeless space where the archive footage doesn’t jar – it doesn’t feel like it’s being viewed through a window. So, there’s a lot of stylistic stuff going on that’s quite subtle, but most of the interview settings were meant to feel like it could be in China.
SDE: The traditional understanding of what a film director does is they stand around and tell the camera operator where and what to film, whereas with the film you’ve made that role changes a bit… or does it?
MC: I spent a lot of time at the beginning of this process asking, “what’s my job? Am I finishing Lindsay’s film? What am I doing?”. The role does change to a certain extent. Initially, after wondering if I was finishing Lindsey’s film, I saw his cut and I thought it wasn’t a cut. This was a rough cut or an assembly [the very first version where all the footage is compiled together]. He was nowhere near, and I don’t think he ever would have got there because he didn’t have the narrative. So, I stopped feeling I was finishing his film when I realised he hadn’t directed the footage – he sat in background. When we talked to the camera operator and the documentary team, they said they weren’t getting any direction. When you asked earlier about whether I felt sympathy towards Lindsey, I think this project doesn’t denigrate Lindsey’s reputation and ability, but ultimately, I think he failed the project. But he did us all a favour; he captured this thing. So, fundamentally you’re working with footage. And as I’ve already said, I tried to ignore the previous cuts – we’re just working with the rushes and we’re not cutting from those films. There’s very, very few shots that you’ll find in ‘10 Days’ that’s there in the other two films, because that material had physically been cut from the reels – it wasn’t in the reels, so we’d have to go back to the masters to bring it back in. And we only did that with some of the concert shots.
Your job is to make the audience feel and understand what happened.
Mike Christie
But getting back to your specific question about my role… before we started filming, we’d spent the best part of a year-and-a-half thinking about it and then Alice, the producer, came in. When I make films I draw badly – I draw these shapes, mind maps, layers and curves and one of the things I drew early on was the emotional curve of this film. I knew how it was going to feel. Your job is to basically take all the perspectives and all the complexity and all the raw material and capture the essence of it and all the different layers. And I think that was the goal. That’s your job. Your job is to make the audience feel and understand what happened.
SDE: I think most people of a certain age remember when we Wham! went to China, but they may be shocked to realise that they only played two gigs there.
MC: And two gigs in Hong Kong [beforehand]
SDE: Those were never filmed or captured then?
MC: No. And they felt like British gigs because it was a British colony. They did that because of the proximity to China – and for the money, because it cost a lot of money. I mean, the whole caboodle cost, allegedly, a million quid. They certainly spent a lot of money on the documentary shoot because they had six film cameras. And thank God for that, because when you look at the stuff at the end of my film, when you see a bit of America [a peak forward at the Whamamerica! tour later in 1985], you’re looking at video footage. My understanding is The Final gig was only shot on video, too. It doesn’t hold up. Thank God they took film cameras [to China].
SDE: Simon Napier-Bell says a few times in your film that the only purpose for the trip was to break America in a big way. But the reality is, by the time they got to China, Wham! had enjoyed three number one singles in the US from the Make It Big album (‘Wake Me Up Before You Go-Go’, ‘Everything She Wants’ and ‘Careless Whisper’) and the album itself had gone to number one. I mean, how much bigger do you want to be in America?
MC: Yeah, I think I asked a similar question early on. I started working in the music industry in 1988, but I’m not an expert on the mid-80s American music market. My understanding is that wasn’t enough to do stadiums. That would get you onto the thirty-date theatre tours that they were trying to avoid so I think they were trying to leapfrog a whole stage.
SDE: How difficult was it tracking down some of those key Chinese audience members that you interview in the film?
MC: It varied. Simon [Napier-Bell] was a consultant on the project, for lots of different reasons, but he still had quite good contacts in China. And still he was able to do interviews in China, which meant that he could plug the fact that the documentary was in production and we’d get people contacting us. It took a lot of time and a lot of effort and we had a producer in China who was working hard. I think we had a shortlist of about 10 or 12 people. But you know, there were 130 people in the tour party. There were a lot of people who fed into the research, but we couldn’t interview everyone. Some people don’t say anywhere near as much as I’d like them to, but the Chinese contingent took a long time and it was the last thing we filmed, as well. We were shooting over a six-month period, and the last bit was China and we nearly didn’t get in; it was touch and go.
SDE: Was the Chinese perspective the thing that made Andrew, in particular, interested in cooperating?
MC: I don’t think he’d say it was the only reason, but I think it was a strong reason. And I think it was the point of difference because no one else had explored that. I’ve been to China; I understood the culture, I understood the history. But the thing is, we say this now, but we genuinely didn’t know the impact, until we found those [Chinese] contributors and we’d done the research and then we understood their stories.
That trip transformed so many people’s lives, but going back there transformed Andrew’s understanding of it.
Mike Christie
SDE: What is your film about, ultimately?
MC: I think all directors need some sort of device to unlock a film. Lindsay didn’t find his, Foreign Skies, as we’ve discussed is what they wanted it to be, but what I found is that the films that work best are the ones that are clear about what’s unlocking the narrative. And, this new film, for me, is about two things: pressure and perspectives. I think the Chinese perspective unlocks all the other perspectives because it’s the counterpoint. The pressure is obvious all the way through. But Andrew’s perspective shift at the end, is so dramatic. It’s really moving and beautiful. That trip transformed so many people’s lives, but going back there transformed Andrew’s understanding of it.
SDE: The scene with George enjoying a massage is revealing, in a number of ways…
MC: We had a long discussion about the massage. There are two things that gave us permission to include it. A: George actually says, “I’ve got no issue with you filming my buttocks” during the scene. And B: The fact that it’s in Foreign Skies, even though it’s much shorter, at just 20 or 30 seconds, it’s still in there.
SDE: I was surprised that he was he was willing to let that shot be in Foreign Skies, but in your film…
MC: … there’s a lot more buttocks!
SDE: Yes, but you get that nice interaction with the member of the crew he’s talking to; his guard is completely down.
MC: During that scene, he says something along the lines of “they kind of wanted us here, but now they want to forget we’re here”. It’s actually very hard to find George talking about China.
SDE: Which is one of the other problems you were faced with. A bit like when Apple did The Beatles Anthology when John Lennon wasn’t around. A person’s view of something five years after it happens may be different to their view 40 years later. Andrew has got his view today, George has got whatever views he had, whenever they were recorded. He is no longer with us, so that must have been a challenge.
MC: We were never sure whether we’d find a lot [of archive commentary about China] or not a lot. Some recorded views were a year or so later, but I think there was a lot of politeness. But we did manage to find enough of George talking about it to make him present. We found some other interviews in strange places. Some of it’s from TV shows and one of them was interview from the Library of Congress in America. You can download the whole interview. It was the same with Lindsay… the same problem, finding his voice. One of the things that really upset me is the one person who was massively absent is [Wham! co-manager] Jazz Summers [who died in 2015] which I think is a huge shame. It’s something we did try to address, but ultimately, there were no real usable interviews. There were interviews he did for his book, but they weren’t usable for different reasons.
SDE: Having spoken to Andrew and gone through all the George Michael archive interviews, do you think there’s a difference in their opinions of that trip or are they very much aligned?
MC: I think everyone’s quite consistent, actually. As a documentary filmmaker, I am very suspicious of biopics, because I don’t trust testimony and memory; I think we’re all quite poor witnesses. There’s a film I made about Hansa Studios and the one thing that was really reassuring about that was the fact that people who hadn’t seen each other for decades were telling the same story. And one of the great things about this Wham film, particularly when we did the difficult scene about Raul [D’Oliveria, Portuguese trumpet player with the band, who stabbed himself in the stomach on an aeroplane during the trip], was that even though these people had not talked for years, but there were all consistently remembering things, such as the speed at which the plane descended. So, it’s possible to cut everyone’s interviews together and there’ll be a continuity because their memories aren’t dissimilar. I’ve found it comes at a certain place in people’s lives. People have a really clear memory of their twenties, on the whole. When I was talking to Martin Gore for the Hansa film, he had a clear memory of that period, and I think a lot of that is because he was like 23, 24, or 25 – it’s a really formative period.
I think what’s interesting is we thought that George was more negative about the whole trip [than he actually was]. We felt at the outset George had a bit of a downer on the footage, the trip, the film, the whole experience, but we never found anything that really mirrored that. He says at the beginning that it was “really difficult” but we found very little evidence of him having a very negative view of it. Because he’s no longer with us, what you don’t get is the thing you get with Andrew at the end; the whole coming to terms with it and having a bit of a more positive spin on it, which is a shame.
SDE: Simon Napier-Bell is surprisingly unapologetic and bullish in your documentary about the goals of the trip. He doesn’t really reflect much and, for example, suggest “maybe we should have made more effort to do this, that or the other”. He’s just like “The whole thing was about publicity. We did it brilliantly. The end.”
MC: [laughs] I like Simon a great deal. I think he’s an incredible man. But the thing is – and this goes back to my distrust of memory – is that sometimes people don’t remember what happened, they remember the last time they told the story, and I think Simon had actually got so used to telling ‘his version’ of the story that we had to challenge him. I mean, there’s some interviewees we couldn’t use in the film because they were unreliable witnesses. Their story didn’t fit with anyone else’s. But it was very interesting, because we filmed his interview over two days – it was the second longest interview after Andrew’s – and overnight, he came back the next day and told us he went through his notes and he checked this, he checked that and he worked out where his anecdotal version had slightly diverged from reality and he corrected it.
In answer to your question, he might seem very matter of fact – and I think that’s that is how he is – but I would say a lot of the interview was a lot more thoughtful. We couldn’t always find the place for some of those sections, but he’s an interesting character.
SDE: One of the memorable scenes in your film is the press conference. That’s not in any of the other films. That sequence sums up the band’s uneasy relationship with the press, particularly with Andrew where he seems to have feelings of pure hatred. The film also reminds us of the power of the press back then; printed media, the tabloids. The amount of press following them around was incredible, but that was the deal with the devil, wasn’t it?
MC: The Faustian pact, yeah, exactly. Whether they were expecting that amount of press corps following the round, I don’t know.
SDE: The rushes that you found, had they been ‘lost’, as people always say when they find tapes, or were they just stored somewhere and no one had bothered to look at them?
MC: They weren’t lost, they were in storage, but there was a degree of that ‘Raiders of the Lost Ark’ warehouse, in terms of ‘what are we going to find’? No one had opened the cans, and we genuinely didn’t know what we were going to find. The biggest difficulty was [the fact that] it’s film. So, anything that went into the [two previous] films was cut out of these reels and the sound is separate. So, you’ve got this ridiculous workflow, which takes an hour for every minute of footage where they’re literally sticking bits of film back together; fixing the physical issues with it, scanning it digitally, and then taking the sound and syncing everything up manually. The workflow is extraordinary.
SDE: Do you think they’ll ever release just the concert, in full?
MC: The problem is that the cameras weren’t directed, they’re just filming. That’s a problem because sometimes you’ve got six cameras and they’re all on different shots. And sometimes there’s three cameras running because the other are changing their mags and they’re all framed on the same shot, but at a slightly different angle. There’s a couple of songs where there’s only one camera running! So, you know, you’ve got a problem…
SDE: They could do the audio of it though. That would be quite good. I noticed Chris Porter recorded it all.
MC: So yeah, Chris Porter remixed these. We remixed from the 24-track multis, so the audio was properly restored and there are 5.1 mixes.
SDE: Presumably, they’ve just done what is needed for your film? He hasn’t gone off and done the whole thing?
MC: No comment [laughs].
SDE: Does this now feel like your film? You’ve got to the end of the process; you’ve stamped your personality as a filmmaker on it. It’s very much your film now, isn’t it?
MC: I’ll take you back to a key word here, which is perspectives. So ultimately, I would say, what’s the audience perspective? I think the audience perspective is that the only film that tells them what happened and shows them what happened, is 10 Days in China. I think a mainstream audience wouldn’t get through the other two films, although fans would. I think there’s a place for each of the films, but I think the best films feel like time machines; they transport you to a time and a place, and then they really convey what happened there and what it felt like. And if that’s the goal, I think it has achieving that. We won’t know until the audience see it, but certainly the limited audiences that have seen it so far find it absolutely fascinating on those different levels.
SDE: Who is the audience for this film and did you have any pressure or guidance to perhaps make it appeal to a younger demographic? Or do you think the audience is primarily people of a certain age that enjoyed that era?
MC: I think there’s more than one question there. I think if the first question is ‘what audience did we make the film for?’ The second question is ‘what audience will the film find?’ The audience we made the film for, we felt was, obviously Wham! fans, but also cinephiles; although one of the complications with that is how little we have of Lindsay Anderson in the film, because he was so absent due to what I would call a dereliction of duty. So, you’ve got Wham! fans, cinephiles to some extent – since it’s an interesting document – but then I think it’s also an historical and cultural document, the China stuff really pulls people in. And at the end of the day, even people who don’t know anything about George Michael or Wham! will recognize ‘Careless Whisper’ or ‘Wake Me Up Before You Go-Go’. So, I think there are multiple audiences. It’s also worth acknowledging something Andrew said, which is that this is the only film footage of Wham! in a dressing room; sound checking; jamming. That’s incredible.
SDE: Let’s just talk briefly about the final scene, a slightly cringeworthy scene where Lindsay gets ignored by George backstage after the final gig. I presume you chose to put that in to kind of make a point?
MC: Yeah, because that final scene, if you look carefully, reveals everything. There’s [producer] Martin Lewis stood in the background with Lindsay in the foreground; There’s that moment where Simon Napier-Bell comes in and does one of his kind of eyebrow arches and walks away; and George ignoring Lindsay. Initially, we had that shot unedited and it was too long. There was another 20 seconds of Lindsay with his hand on George’s shoulder and George just ignoring him. That speaks volumes.
Wham! in China with Lindsay Anderson
SDE: It’s good to see Lindsay in it because when they did the showing of his version at the BFI they promoted it with a still photograph, which I think it was at the Ambassador’s residence, in the back garden. It’s the only time I’d ever seen a photo of them together, so it’s nice to see him, in your film.
MC: Like I said, you don’t want in any way to undermine the guy’s canon of work, which obviously is extraordinary, in its own right. But ultimately, I think if you could talk to him now, he’d probably say he just regretted getting involved with this project.
Thanks to Mike Christie who was talking to Paul Sinclair for SDE. Wham! 10 Days in China is in Cinemas from 28 July 2026 and will be shown on BBC TV in the UK in late August.
Watch, as SDEtv unboxes the ultra limited ‘Pill Edition’ of London Records’ forthcoming reissue of Happy Mondays’ 1990 album Pills ‘n’ Thrills and Bellyaches. Also featured in this video are the 4CD super deluxe and the 5LP vinyl box set. All formats will be released on 21 August 2026.
Jethro Tull’s 1971 album Aqualung and 1974’s War Childare both being made available on blu-ray audio with brand new Steven Wilson Dolby Atmos Mixes.
Both blu-rays also feature slightly revised 5.1, stereo and instrumental mixes from Wilson as well as Quadrophonic mixes. Aqualung adds 12 bonus tracks, two of which also feature in Atmos.
Despite an impressive reissue campaign, of superb deluxe editions, this is the first time Atmos Mixes have been made available on a physical product.
Pre-order both titles from the SDE shop using this link or the buttons below. If you are looking for something to order this with, last copies of a few SDE exclusive titles are in stock, including Roxy Music’sFlesh + Blood and Bryan Ferry’s Bête Noire as well as recent new releases, such as Phil Collins’ Face Value and XTC as Dukes of Stratosphear’s Psurroundabout Ride.
The two Jethro Tull titles are released on 11 September 2026, via Parlophone.
Tracklisting
Aqualung Jethro Tull/Blu-ray Audio
2026 STEVEN WILSON REMIXES
ATMOS / 5.1 / STEREO / INSTRUMENTALS
Aqualung [6:37]
Cross-Eyed Mary [4:08]
Cheap Day Return [1:22]
Mother Goose [3:53]
Wond’ring Aloud [1:54]
Up To Me [3:15]
My God [7:12]
Hymn 43 [3:18]
Slipstream [1:12]
Locomotive Breath [4:41]
Wind-Up [6:00]
1974 QUADRAPHONIC MIX
MIXED AT ADVISION STUDIO BY ROBIN BLACK APRIL 1974
PRODUCED BY IAN ANDERSON
Aqualung [6:31]
Cross-Eyed Mary [4:06]
Cheap Day Return [1:21]
Mother Goose [3:51]
Wond’ring Aloud [1:53]
Up To Me [3:14]
My God [7:08]
Hymn 43 [3:15]
Slipstream [1:12]
Locomotive Breath [4:23]
Wind-Up [6:01]
BONUS TRACKS
ATMOS / 5.1 / STEREO
Wond’ring Aloud Again [7:06]
Lick Your Fingers Clean (2023 Remix) [2:48]
5.1 / STEREO
My God (Early Version) [9:53]
Just Trying to Be [1:38]
Wond’ring Aloud (13 Dec 1970) [1:52]
Up The Pool [1:10]
Wind-Up (Early Version) [5:22]
Lick Your Fingers Clean (2011 Remix) [2:51]
Slipstream (Take 2) [0:53]
STEREO
Pancake Doomsday [4:38]
Aqualung (Early Take) [6:09]
Locomotive Breath (Early Take) [4:28]
Tracklisting
War ChildJethro Tull/Blu-ray Audio
2026 STEVEN WILSON REMIXES
ATMOS / 5.1 / STEREO / INSTRUMENTALS
WarChild [4:37]
Queen And Country [3:01]
Ladies [3:17]
Back-Door Angels [5:31]
SeaLion [3:33]
Skating Away On The Thin Ice Of The New Day [4:12]
Bungle In The Jungle [3:39]
Only Solitaire [1:27]
The Third Hoorah [4:52]
Two Fingers [5:07]
1974 QUADRAPHONIC MIX
WarChild [4:24]
Queen And Country [3:00]
Ladies [3:29]
Back-Door Angels [5:30]
SeaLion [3:38]
Skating Away On The Thin Ice Of The New Day [4:13]
In 1981, BBC Radio presented a full-cast dramatisation of JRR Tolkien’s masterpiece, The Lord of the Rings. The cast included Ian Holm as Frodo (20 years later Holm played Bilbo in Peter Jackson’s films), Michael Hordern (Barry Lyndon, Gandhi, Paddington) as Gandalf, John Le Mesurier (Dad’s Army) as Bilbo, Bill Nighy (Love Actually) as Sam, Peter Vaughan (Game of Thrones), and Simon Cadell (Watership Down).
This 13 hours of drama is to be released as deluxe 14LP coloured vinylbox set and 14CD package, both featuring standalone bonus discs of the series’ celebrated soundtrack by the composer Stephen Oliver.
The 14LP coloured vinyl box set (click image to enlarge)
The 14LP box features “Clear and Forged Gold” coloured vinyl. Each box set is individually numbered and features beautiful original artwork, re-imagining the landscape of Tolkien’s Middle- earth. It comes with an eight-page booklet, featuring behind the scenes cast photos and a note about the making of the series by dramatist Brian Sibley, is also included along with full cast and credits for every episode.
This is also available as a limited edition and numbered deluxe 14CD box set and both formats will be released on 4 December 2026, via Demon Music.
Cherry Red’s excellent custodianship of Howard Jones’Warner-era output continues with a full 1983 concert, newly mixed and mastered from the multi-track tapes.
Like To Get To Know You Well: Recorded Live at High Wycombe Town Hall, 1983 is available as a CD+DVD package or a “strictly limited” 2LP set pressed on translucent red vinyl.
The concert was from 22 December that year which explains the inclusion of the festive ‘Ding Dong Merrily On High’ but, as you might expect, the setlist is mostly culled from Jones’ debut album, Human’s Lib. ‘Like To Get To Know You Well’ (which ended up being a non-album single) also features.
This release is based on a VHS from 1984 and it’s on (region-free) DVD here for the first time. The DVD has 9 songs while the CD and vinyl offer 15 audio tracks including a version of the track ‘Human’s Lib’ featuring Howard’s full spoken introduction entitled ‘The Story Of Ruth, David and Den.nis’.
Like To Get To Know You Well: Recorded Live at High Wycombe Town Hall, 1983 will be released on 18 September 2026, via Cherry Red.
Compare prices and pre-order
HOWARD JONES
Like to Get To Know You Well - Live in High Wycombe 1983 - CD+DVD
Lulu’s1993 ‘comeback’ album is expanded massively for this 4CD+DVD box set. Possibly remix overkill, although the DVD looks good with promo videos and BBC TV appearances.
Echo & The Bunnymen will release a new album, Apples For Isaac, in September.
It’s the band’s first album of newly-written material in over a decade (2014’s Meteorites being the last) and you can sample the music by checking out the lead ‘single’, ‘Brussels is Haunted’, below.
The album features Blondie drummer Clem Burke on all but one of the songs. He died during the making of the record.
The album is available on CD, black vinyl and vinyl picture disc and there are bundles at the artist shop. Indie stores get an attractive splatter green vinyl edition.
Apples for Isaac will be released on 18 September 2026.
Suede’sclassic 1996 album, Coming Up, is being reissued for its 30th anniversary across a number of formats including a 5CD set, an SDE exclusiveblu-ray audio with Dolby Atmos Mix and an SDE exclusive vinyl featuring Steven Wilson’s new 2026 stereo mix.
The band’s first album recorded without Bernard Butler, Coming Up featured a new look Suede line up as Brett Anderson (singing), Mat Osman (bass) and Simon Gilbert (drums) were joined by Neil Codling (keyboards/guitar) and Richard Oakes (guitar).
The album was a critical and commercial success. It was nominated for the Mercury Music Prize and reached number one in the UK album charts and all five singles – ‘Trash’, ‘Beautiful Ones’, ‘Saturday Night’, ‘Lazy’ and ‘Filmstar’ – reached the top 10 in the singles chart in the UK.
You’re at your most creative in a band if you’ve got something to kick against and Coming Up was us doing that. It was like, ‘No, we’re not done. Just you watch’.
Suede guitarist Richard Oakes
The SDE exclusive blu-ray features new Dolby Atmos and 5.1 mixes by Steven Wilson, a 2026 Steven Wilson Stereo Mix and a unique Steven Wilson 2026 Instrumental Stereo Mix. These sit alongside the original 1996 stereo mix.
Coming Up audio streams on the SDE-exclusive blu-ray are as follows:
Coming Up Steven Wilson 2026 Dolby Atmos mix (48/24)
Coming Up Steven Wilson 2026 5.1 mix (96/24)
Coming Up Steven Wilson 2026 Stereo mix (96/24)
Coming Up Steven Wilson 2026 Instrumental Stereo mix (96/24)
Coming Up 1996 Original Stereo Mix (48/24)
Additionally, the SDE blu-ray features 24 bonus tracks (in stereo) comprising all the very high quality B-sides and non-album tracks from the various CDs issued in support of the original singles. ‘Asda Town’, ‘Together’, and ‘Bentswood Boys’ also feature, which were new songs written after Bernard Butler left the band (they appeared on various ‘New Generation’ formats), as does Suede’s cover of ‘Shipbuilding’.
Furthermore, this Blu-ray includes all five promo videos for the singles, in HD!
The Coming Up (Region-free) blu-ray audio is #69 in the ongoing SDE Surround Series and will be packaged similarly to previous editions (clear amaray case) and ships with a free, collectible SDE Surround Series slipcase.
SDE exclusive Steven Wilson Mix on vinyl
Suede fans can also order the new Steven Wilson Mix of Coming Up on vinyl which features new cover art and is pressed on ‘green & yellow blended’ coloured vinyl LP. This is a stereo remix, not a remaster and this limited edition one-time pressing is only available via the SDE shop (there’s a blu-ray + vinyl bundle as well).
The Coming Up 5CD deluxe set is widely available and features the original mix on CD 1, Steven Wilson’s new mix on CD 2, non-album tracks on CDs 3 and 4 and Coming Up at the BBC (previously a vinyl-only RSD release) on CD 5. Exclusive to this 5CD set is new sleeve notes by music journalist Miranda Sawyer. This comes in seven-inch packaging.
The SDE blu-ray audio is TIME LIMITED release; the pre-order window closes at midnight GMT on 29 July 2026. Availability after that point cannot be guaranteed. Pre-order both the blu-ray and the Steven Wilson Mix vinyl only at the SDE shop using this linkor the buttons below. Phil Collins’Face Value has also just been announced on blu-ray so if you are looking for something to pair Coming Up with, that’s a good option (the release dates are only a week apart).
Coming Up is released on 25 September 2026, via Demon Music.
COMING UP – Steven Wilson 2026 Dolby Atmos Mix, Steven Wilson 2026 5.1 Mix, Steven Wilson 2026 Stereo Mix, 1996 Original Stereo Mix, Steven Wilson 2026 Instrumental Stereo Mix
Trash
Filmstar
Lazy
By the Sea
She
Beautiful Ones
Starcrazy
Picnic by the Motorway
The Chemistry Between Us
Saturday Night
BONUS TRACKS IN STEREO
Europe Is Our Playground (Original Single Mix)
Every Monday Morning Comes
Have You Ever Been This Low?
Another No One
Young Men
The Sound Of The Streets
Money
Sam
W.S.D.
Jumble Sale Mums
This Time
Saturday Night (Original Demo)
These Are The Sad Songs
Feel (Full-Length Single Version)
Sadie
Digging A Hole
Graffiti Women
Duchess
Rent (Live)
Saturday Night (Live)
Asda Town
Together
Bentswood Boys
Shipbuilding
PROMO VIDEOS
Trash
Beautiful Ones
Saturday Night
Lazy
Filmstar
Tracklisting
Coming UpSuede/30th anniversary
COMING UP STEVEN WILSON MIX
Side A
Trash
Filmstar
Lazy
By the Sea
She
Side B
Beautiful Ones
Starcrazy
Picnic by the Motorway
The Chemistry Between Us
Saturday Night
Tracklisting
Coming UpSuede/30th anniversary
CD 1: Coming Up
Trash
Filmstar
Lazy
By the sea
She
Beautiful ones
Starcrazy
Picnic by the motorway
The chemistry between us
Saturday night
CD 2: Coming Up Steven Wilson Mix
Trash
Filmstar
Lazy
By the sea
She
Beautiful ones
Starcrazy
Picnic by the motorway
The chemistry between us
Saturday night
CD 3: The B-sides
Europe is our playground (original single mix)
Every monday morning comes
Have you ever been this low?
Another no one
Young men
The sound of the streets
Money
Sam
W.s.d
Jumble sale mums
This time
Saturday night (original demo)
CD 4: The B-sides / bonus tracks
These are the sad songs
Feel full-length (single version)
Sadie
Digging a hole
Graffiti women
Duchess
Rent (live)
Saturday night (live)
Asda town
Together
Bentswood boys
Shipbuilding
CD 5: Coming Up at the BBC
Trash
Filmstar
Lazy
By the sea
She
Beautiful ones
Starcrazy
Picnic by the motorway
The chemistry between us
Saturday night
68 Simple Minds / Once Upon A Time
67 Tina Turner / Private Dancer
66 Producers / Made in Basing Street
65 Thin Lizzy (1971 debut)
64 Bryan Ferry / Taxi
63 Bryan Ferry / Bête Noire
62 Roxy Music / Flesh + Blood
61 Tori Amos / In Times Of Dragons
60 Heaven 17 / The Luxury Gap
59 Heaven 17 / Penthouse and Pavement
58 Mark Knopfler and Emmylou Harris / All The Roadrunning
57 The Who / Quadrophenia
56 George Michael / Faith
55 Bryan Ferry / Boys and Girls
54 Thin Lizzy / Nightlife
53 Fine Young Cannibals (FYC) / The Raw & The Cooked
52 Tears For Fears / Songs From The Big Chair
51 Propaganda / A Secret Wish
50 Frankie Goes To Hollywood / Welcome to the Pleasuredome
49 Elton John / Captain Fantastic and the Brown Dirt Cowboy
48 The Who / Who Are You
47 The Human League / Dare
46 Split Enz / ENZyclopedia Volumes 1 & 2
45 Mark Knopfler / Sailing to Philadelphia
44 Matt Deighton / Today Become Forever
43 De La Soul / 3 Feet High and Rising
42 Steve Harley & Cockney Rebel / The Best Years of Our Lives
Rhino are to release Let There Be Love a new Tom Tom Club box set that collects six studio albums.
The Talking Heads side project was formed by Chris Frantz and Tina Weymouth in 1981 by and Tom Tom Club are best known for their UK top 10 hit ‘Wordy Rappinghood’ and the US top 40 hit ‘Genius of Love’, both of which were from their ’81 eponymous debut, which is obviously included in this 6CD box set.
The other albums are Close to the Bone (1983), Boom Boom Chi Boom Boom (1988), Dark Sneak Love Action (1991), The Good, The Bad, and The Funky (2000), and Downtown Rockers (2012).
Boom Boom Chi Boom Boom appears to be the US version which omits three tracks from the UK version but adds some others and there’s no bonus tracks on any of the CDs, such as 12-inch mixes.
There is also no available outside North America at the moment. Whether that will change remains to be seen. A 7LP vinyl box is also available at around $200.
Let There Be Love will be released on 24 July 2026.
