​Lamberto Bava’s insane, Argento-produced zombie flicks arrive in eye-popping 4K restorations.

Don’t meddle with a masterpiece they say. But what happens when someone peddles your masterpiece? When someone you have zero respect for buys and sells your work and could continue to profit from it for many years to come? This is essentially what happened to Taylor Swift when the masters to her early albums released on Big Machine were sold without her having any say in the matter.

Belgian shoegaze outfit Slow Crush release long awaited second album.

Grateful Dead’s bond with St. Louis stretches back to their first show there in 1968, when they debuted “St. Stephen.” The 20-CD boxed set Listen to the River: St. Louis ’71, ’72, ’73 provides a unique structure that offers an evolutionary framework for listeners to follow and assess the band’s changes through its seven previously unreleased concerts.

Primitive Ignorant tackles the trauma of addiction and celebration of life on genre transcending Life or Death EP.

High Sierra would give Bogart the chance to tackle a more morally questionable protagonist role of his own, and would put him on the path to becoming one of the biggest stars of the 1940s.

Opening with what recalls the haunting lullaby of Rosemary’s Baby morphing into a spectral Alice Coltrane-esque howl, Connan Mockasin’s Jassbusters Two sets off on an appropriately moving and funny trajectory immediately. Conceived of as a tell-tale band of schoolteachers uniting to ostensibly create some more traditional songs, the entire scaffolding for this loosely conceptual album is a punchline.

Nathalie Biancheri’s Wolf is a thriller that solely attempts to coast off of the shocking nature of its initial premise.

On their sophomore studio album, Southern Californian thrash metal godfathers Slayer eschewed the dingy production quality of 1983’s lo-fi Show No Mercy for a fuller, far more vicious sound, ultimately resulting in the genre classic Hell Awaits.