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Music for clubbers wondering where to go when the dancefloor clears. Cesaria Evora Cafe Atlantico The greatest exponent of morna, the lyrical and exquisitely melancholic style from the Cape Verde islands, Cesaria Evora was already a grandmother by the time she became an international celebrity. Her third album showed off her gently soulful, languid but emotional voice on sad, haunting songs such as Desilusao Dum Amdjer. Boozy, deceptively ragged-sounding and of dubious moral character, Faces blurred the boundaries between business and pleasure, and recorded the consequences.

Donald Fagen The Nightfly The solo debut from half of Steely Dan had all the polish, wit and deceptively easy grooves of late-period Dan. Locomotive sounds blend with his acoustic guitar to create a sparse, meditative atmosphere. A wide-open, pan-American travelogue. Who Knows Where the Time Goes? Marianne Faithfull Broken English As startling a reinvention as pop has ever produced, Broken English was as much a document of survival as anything else. All trace of the sparrow-voiced 60s dolly bird has been extinguished here; in its place appears a gravel-throated cynic who had lived through drug addiction and infidelity and had harrowing tales to tell.

The album was made when he had returned to music after a lengthy period of farming and performing civic duties. On the opening track, Erdi, he showed the link between ancient Mali and contemporary blues by matching traditional styles with harmonica and saxophone.

Robin Denselow. But it was also a fantastic pop record. Nusrat Fateh Ali Khan Mustt Mustt The greatest exponent of qawwli, the devotional music of the Sufis, Nusrat Fateh Ali Khan updated his songs to reach younger audiences, both in his native Pakistan and across the west.

On this album, his extraordinary, soulful, rapid-fire improvised singing was backed by guitars as well as tablas and harmonium; Massive Attack rousingly remix the title track. They were tortured by obscurity, yet capable of moments of baroque pop genius — the best of which are gathered on this retrospective. He is backed here by the powerful and intense vocals of his daughter, Lena, on charming and thoughtful songs that range from the surreal to angry social commentary.

Translations are thankfully provided. A volatile cocktail of psychedelia, power-pop and punk, with disjointed lyrics floating like bittersweet cherries, it gets more intoxicating with every listen. Her voice is so mellifluous, the swooning, swaying arrangements so poised, that the album wafts sophistication like an expensive perfume. Listening to it feels like cocktail hour, every hour.

The sunshine riffs and queasy keyboards were tremendous; the fecund imagination and candid, yearning humanity made it a modern psychedelic classic. Released 19 years after it was recorded in , recording, this is a cheery salute to long-deceased, old-timey styles. But rather than resorting to wracked dissonance, Fleetwood Mac laid bare their lives over guitar pop so shiny, so polished, that one would barely believe they had a care in the world.

Celso Fonseca Natural Forget Barry White — there are times when the Brazilians have the edge in late-night seduction music. He has a gift for melody, demonstrated in tracks such as Clandestino and El Niejo, plus a virtuosity that can hold its own on any jazz stage in the world. Forever Amber The Love Cycle The songs were written by a vocally challenged lawyer, performed by an amateur Cambridge band he met in a record shop, and recorded in a Hitchin attic.

So far, so DIY. There again …. Franco and OK Jazz Originalite Congolese music dominated African dance styles for three decades, and OK Jazz were the best-known, best-loved band in the country, thanks largely to their guitarist, composer and singer, Franco Luambo Makiadi. These mids recordings, recorded when he was still a teenager, show his mature, driving guitar work on a typically cheerful selection. Jackson C Frank Jackson C Frank After escaping a fire that killed most of his schoolfriends, the Buffalo-born Frank used his insurance cheque to flee to London, where he recorded his only album.

It remains a cornerstone of the 60s Soho folk scene: Carnival and Blues Run the Game are still staples for both Bert Jansch and buskers alike. Bright, sugary harmonies, sprightly flutes and gently skittish drums accompany stories of little cowboys, scarlet trees and bubbles.

There are plenty of psychedelic twangs and tics to swing the grown-ups, too. This set is an example of underrated performers — Freeman and his piano partner, John Young — sounding as good as the biggest stars in the heat of a live jam. Fugees The Score One of the biggest hip-hop albums of the 90s owed its success to a song that was anything but hip-hop. Thoroughly addictive, it sounds even more eccentric now than it did then.

Jaws then dropped when people heard it. Very few pop albums are as bold, original and consistent as this. Future Sound of London Accelerator Garry Cobain and Brian Dougans became the Dr Strangelove of ambient techno, subjecting acid pulses and fractured breakbeats to strains of devilish experimentation.

Their first, most straightforward album was the most fun. Special kudos for their majestic chill-out anthem, Papua New Guinea. But it is a pivotal release, marking his first foray into funky world-music grooves, which he has never explored with more energy than he does here. Bonnie and Clyde smoulders hypnotically and disdain pours from Requiem Pour un Con. Maddy Costa. Galaxie On Fire Though their narcotic drone-rock clearly owed the Velvet Underground a debt, Galaxie had a unique.

On Fire is a delicate weave of downcast melodies and limpid rhythms. Gang of Four Entertainment! Twelve Moons beautifully balances those atmospherics with explicit references to jazz and folk. The wonky, jagged melodies, the jazz-inflected rhythms and the meandering lyrics call to mind surrealist films in which people tilt and time accelerates: the album is that beguiling and strange. Mary Gauthier Filth and Fire After a tough early life that included running away from home, jail and drug problems, Gauthier became one of the most compelling songwriters in America, drawing on her own experience to sing about losers, misfits and those just struggling to survive.

Genesis Selling England By the Pound When Peter Gabriel fronted Genesis in gloriously silly fancy-dress, they were the archetypal widdly-widdly prog-rock band with very long songs. Bobbie Gentry The Delta Sweete An adept painter of musical pictures heavy with nostalgia, this Mississippi native and former Las Vegas showgirl oozed dreamy country-blues laced with a dose of churchy folk.

But the likes of Getting Nowhere in a Hurry showed that the jazzman Budd could write a cracking pop song, too. Stan Getz Jazz Samba Recorded in a church in Washington, DC, this album introduced Brazilian music to the world, and showed how Stateside jazzmen had truly mastered the bossa nova. This sombre album is the only evidence of his ambitions, built around epic string arrangements, lyrical Edwardiana and a wheezy drum machine — the first ever on a hit record.

His richly nuanced debut album had an impact that resonated throughout the music, out of all proportion to its sales. Many of his greatest songs are from this early Tropicalia era, including the classics Domingo No Parque and Bat Macumba. What makes Tanto Tempo work is the quality control. Thunderous drums, harpsichords and fuzzy guitars embellish a dozen potential hit 45s. His stunning trumpet playing and audaciously exhilarating themes here define the postwar sound of modern jazz.

Lecherous rabble-rousing drinking songs sway next to eerie jigs and reels, the mood darting wildly between innocence, danger and chilling erotica. But someone at Polydor broke the cardinal rule of reality-show pop and took a risk, entrusting the songwriting to a stubbornly maverick crew called Xenomania. The result shredded all expectations. On their three albums together since, they have consistently asked how far you can push the sound and shape of pop while still hitting the Top Cantering synth-skiffle?

That would be Love Machine. Distorted electro-punk? Wake Me Up. Years from now, when someone wants to know how bold and brilliant mainstream British pop could get in the noughties, play them this. Dorian Lynskey.

Egberto Gismonti Selected Works Gismonti is one of those extraordinary characters who fits hardly anywhere, yet is welcomed everywhere — for his fiery, uncompromising piano playing, his extraordinary solo guitar performances and his creative collaborations. This unfathomably beautiful out-of-time masterpiece, informed equally by Brian Eno, David Sylvian, Detroit techno and the Cocteau Twins, could be a soundtrack to anything or nothing. The Go! And, for those of a geekier disposition, each listen harboured a fresh new game of spot-the-sample.

His finest, passionate songs like Asa Branca, included here, dealt with the suffering of his arid homeland. This album shows us a pianist by turns flamboyant, clunky, majestic, dainty, hilarious and capable of moments of exquisite beauty.

More to the point, is there anyone of his generation who could have so capably revived the long-dormant idea of intelligent pop while so gloriously defying a genre straitjacket? Gotan Project La Revancha del Tango Retrieving tango from the tea-dance set and modernising it for worldwide consumption, the Paris-based trio achieved an astonishing ubiquity with their smooth Spanish-language electronica.

The album is rooted in that California where the rural past rubs against the digital future; Jason Lytle meditates with doleful eloquence on rusting air conditioners and alcoholic robots. Grateful Dead American Beauty Psychedelia had made them. The Grateful Dead would be sustained through the next 30 years, however, by something much earthier. Almost 30 years on, Grease is still the word. These are some of the greatest unheralded songs in American music: loser anthems soaked in country, rock, blues, booze and trouble.

This makes that case compellingly. Skulking through LA with a sneer on its face, this debut drips with fear and loathing. It united punks and rockers and introduced grit to the MTV machine. Trilok Gurtu 20 Years of Talking Tabla The percussionist Trilok Gurtu can be a difficult man to pin down: he collaborates with every kind of jazz-world style you can imagine. This two-CD greatest-hits compilation gives a good account of his multiple talents, from 80s fusion to his recent adventures with strings.

This justifiably cooed-over cult classic is the missing link between Astrud Gilberto and Saint Etienne. Result: an irresistible magpie-pop variety show. And Toots and the Maytals are here with their ska gem Pressure Drop. Tim Hardin Tim Hardin 2 You would be hard pushed to choose between this and Tim Hardin 1: the material was recorded as a batch from Harmonia Musik von Harmonia Babbling, trance-inducing proto-electronica by sometime Neu! Harmonia were fantastically ahead of their time, and much-beloved of Brian Eno, who subsequently collaborated with the trio on Tracks and Traces.

Roy Harper Stormcock Harper was a fixture of the 60s London folk scene, but transcended those roots with this adventurous collection of baroque folk. Released the following year, these eight lengthy pieces on disintegrating suburbia, with a failed marriage at their heart, ignore conventional song structures and pop your eyes with their blithe ambition. He killed himself in , but his legacy still resonates. But this compilation has a dozen other tenor sax solos of similarly playful, spontaneous beauty.

Spiritual cousins of German rockers such as Neu! With the clock ticking, Hayes gave sweeping, funk-backed orchestrations to four songs — two originals, plus covers of Walk On By and By the Time I Get to Phoenix — and draped his honey-drenched baritone over the top. Sure, but brilliant. Even in the depths of heroin addiction, he was a brilliant songwriter and arranger, creating blissful, wistful chamber-pop.

His debut with the Voidoids was brash and bratty, but more musically adventurous than anything coming from those who had copied him. The aural equivalent of the Bell logo. Stark and sombre, full of his trademark ostinatos and inventive orchestration, it was the last work that the New York composer would complete before his death. The breadth and depth of her talent is breathtaking. However, this experiment in ambient meditations, sequencers and Tibetan bells was years ahead of its time.

Probably the album that invented chillout, it was recognised by Alex Paterson as the crucial influence on the Orb. Seething with fury and grungy glamour, its lyrics about beauty queens and anorexic magazines tore pop culture apart, and its riotous guitars and nasty basslines gave extra musical muscle. The meanings of 30s pop songs are hauntingly reinvented, and her partnerships with the sax magician Lester Young and the pianist Teddy Wilson are sublime.

The cutting-edge improvisers, Anthony Braxton and Sam Rivers, interweave on saxophones and flutes, and the drummer, Barry Altschul, is superb. Once he left in , cabaret beckoned. The bustling neo-psychedelia that resulted is New York through the ears of a curious outsider with a head full of movies, old records and drugs. John Lee Hooker Hooker A glorious track, four-CD set that chronicles the remarkable history of the Mississippi bluesman who was a major influence on British musicians from the Animals to the Rolling Stones.

It covers everything from his early stomping blues boogies, such as Boogie Chillen, through to his collaborations with Eric Clapton and Van Morrison. And with his musical foil, the hotshot guitarist Hubert Sumlin, he cut some of the most vital Chicago Blues of the 50s and 60s. Only Annette Peacock comes close in terms of unsettling otherness.

Half whisper, half chant, these songs articulate an inner language in sparse, alien lullabies. This Loose Tubes spin-off, with drummer Steve Arguelles and multi-instrumentalists Stuart Hall and Django Bates, attacks a variety of material with bloody-minded virtuosity and flair.

The Human League Dare! An undisputed synth-pop classic. But what follows is unlike anything else in mids hardcore punk. A wall of guitar noise emerges in a mesmerising shimmer, as if out of a heat haze. The effect is almost unbearably intense and spellbinding.

The album blazes with a gospel-like fervour, the work of a band with a point to prove. The torrential results reflect the amphetamine-fuelled blur in which it was recorded. By harnessing the aggression of hardcore to a pop sensibility, New Day Rising would ultimately change the face of American rock music, setting a course that led via the Pixies to Nirvana. Check the title track and high-atmos instrumental Getting It On for evidence. Abdullah Ibrahim Water from an Ancient Well South African pianist-composer Ibrahim made hundred of albums, moving around the world while in exile.

But few are as satisfyingly consistent as this one, which blends an Ellingtonian compositional sensibility and dignity with African jazz, movingly played and with a light touch by a superb band. The result was a feral, furious, sometimes ignorant, always wilful and consistently provocative masterpiece of rap rage.

These songs put the Sound of Philadelphia on the soul map. Oh, and prostitutes. What pubescent boy could resist? J Dilla Donuts James Yancey recorded Donuts while on dialysis and released it the day he turned This dense, urgent, soul-drenched splurge of wild ideas and weird juxtapositions is a final celebration of the music he loved. Joe Jackson Look Sharp! Packed with jumpy little pop grenades — most barely three minutes long, all wildly catchy — it presented Jackson as a neurotic romantic with a lifetime of relationship failures to get off his chest, and then some.

Millie Jackson Caught Up Jackson comes off like a female Isaac Hayes on this half-sung, half-rapped song cycle about adultery; she switches her sympathies between the mistress and the betrayed wife. James Stutter Before Madchester, and before the Horlicks rock of Sit Down became ubiquitous, James were an invigorating prospect: a folk-pop band apparently engaged in a bout of pro-wrestling with their instruments.

Their debut album clangs like a grand piano tumbling downstairs — leaving singalong melodies in its wake. Bert Jansch Bert Jansch With Dylan it was all about the words, with Jansch the guitar, and never more so than on his keening, threadbare debut. Those spindly, music-box pickings carried British folk into new waters, and came to bear on everyone from Davey Graham to Led Zeppelin. Needle of Death might still be the saddest of all softly sung tragedies.

Japan Tin Drum All eyeliner and reference points, Japan seemed not so much a band as a phase to be gone through. That, though, would deny their strength of purpose. A single, Ghosts, took the sound of paranoid bats in a windy belfry into the Top Their final LP, meanwhile, refined their intellectual pop aesthetic into a stylish, glossy monochrome. Distrusting an inferior instrument on this unaccompanied gig, Jarrett stuck to the mid-range and improvised — with sweeping imagination — around a handful of ostinatos and grooves.

The result is a hypnotic, romantically lyrical and country-tinged tour de force. Jay-Z The Black Album For what was meant to be his last studio album, Shawn Carter delivered his most open, intense and honest rhymes. Jefferson Airplane Surrealistic Pillow San Francisco psychedelia captured just before pomposity and bloat set in. Low on indulgent jamming, the songs come in sharp, remarkably potent flashes. Jefferson Airplane would never again sound as concise or powerful as on White Rabbit and Somebody to Love; even the shifting, episodic She Has Funny Cars lasts barely three minutes.

This convinced us that erstwhile glam punk guitarist Jenkins really had become an inspiringly maverick bandleader of great importance. His enthusiasm, sentiment and sense of fun knits the ballads, prog-rock, cod reggae and glitzy pop together with an energy John soon lost.

Robert Johnson is the original embodiment of the most enduring myth in popular culture. Me and the Devil Blues pulsates with resignation at the fate of a man given to women and drink. But there was warmth and humour in his songs, too, not to mention a diamantine brilliance about his guitar-playing — so virtuosic that Stones guitarist Keith Richards confessed he initially thought two men were behind it.

Johnson was haunted by the restless ambition to transcend his time and place: how profoundly he achieved that dream. As famous for his temper, battles with booze and fondness for driving lawnmowers as for his voice, he flies the flag for old-fashioned country and timeless misery. Grace Jones Nightclubbing After her camp disco beginnings, Jones pitched up in the Bahamas with Chris Blackwell for this, an album of dub-soaked pop propelled by the super salacious Pull Up to the Bumper and the Sting-penned Demolition Man.

Still, its final songs, The Eternal and Decades, are untouchable in their manifestations of abject despair. This brilliant but atypical album draws on Scandinavian nu-jazz courtesy of Bugge Wesseltoft to spice up an exemplary home team, including husband Tutty Moreno on drums. Judas Priest British Steel Heavy metal existed before , but British Steel, released just as British metal was rising, codified it.

Priest brought the leather and studs contributed by their gay singer, Rob Halford , the combination of brute riffs with big hooks exemplified on Living After Midnight , and the pride in being heavy. Not for nothing was there a song entitled Metal Gods. Junior Boys Last Exit Last Exit is a cocoon of an album, one to play on loop when feeling at a loss.

Beats click, whirr and settle into gentle grooves, basslines provide aural comfort and the melodies are rich with mood and heart. Salif Keita Soro This is the album that established Salif Keita as an international star, and brought the African desert state of Mali to the attention of western music fans.

On its parent album, she would prove herself equally adept at hip-swivelling, lusty grooves and sumptuous, psychedelic balladry; and her production team, the Neptunes, would go on to shape the next half-decade of pop. Stan Kenton City of Glass Unconventional swing bandleader Kenton liked massive volume and huge bands, complex and highly structured works, classical references Stravinsky and Ravel particularly ; he delivered a kind of prog-jazz of the 40s and 50s.

It could be hyperbolic, but these are some of the best-realised of his experimental works, with remarkable arrangements by Bob Graettinger. This record, with Don Was at the controls, offered a widescreen canvas and took Khaled international, thanks in large part to the limb-loosening global funk of Didi. The Killers were a confusing proposition, but one unashamed of ambition, and equipped with choruses big enough to silence critics.

Soweto Kinch Conversations With the Unseen Soweto Kinch burst on the scene with a new way of playing jazz, combining edgy post-bop with hand-played versions of the grooves and broken beats of hip-hop. Carole King Tapestry On first listen nothing more than a likable collection of dreamy west coast songwriting, Tapestry turned out to be far greater than the sum of its parts. KLF The White Room Memories of the KLF usually focus on their high art concepts — the dead sheep and machine guns at the Brits — or their premature retirement and subsequent burning of a million quid.

The Knife Silent Shout The mind-blowing and singularly disquieting sound of a band pushing themselves to the limits of pop, Silent Shout is dominated by a sense of sinister dysfunction. Karin Dreijer sings as though on the brink of insanity through a forest of mangled electronics and stabbing beats. Konono No 1 Congotronics This groundbreaking debut from the six-strong Congolese collective blasts out of the speakers like a thrilling parade of west African rave.

The best example: a sharpened-up Autobahn, which arguably improves on the original. Subtle, funky, peppered with sax and social comment, it was attacked for its retro feel and debt to the Beatles, but now sounds like a breath of fresh air. One of the most colourful figures in the history of African music, Fela Kuti was a bandleader, songwriter, singer, saxophonist, keyboard-player and percussionist who pioneered a new style of Nigerian music, afrobeat, in which he mixed traditional styles with Western funk and jazz.

He recorded more than 50 albums before his death in , but was never as well known in Europe and America as Bob Marley, in many ways his Jamaican equivalent. Within Nigeria, Kuti became a celebrity, thanks both to his music and rebel stance. He declared the area around his club in Lagos, the Shrine, to be an independent state, the Kalakuta Republic, protected by an electric fence.

His decision in to marry all of his 27 singers and dancers on the same day added to his notoriety and legend though, in , he announced that marriage was a bad idea and divorced them all. It includes a DVD of a documentary filmed in Lagos in , which includes several performances from the Shrine. Bappi Lahiri Disco Dancer OST Disco music arrived late to Indian cinema, but when it did it inspired a glittering array of sonic adventures and plotlines.

Lambchop What Another Man Spills Lambchop recorded their fourth album when frontman Kurt Wagner was still sanding floors for a living; the sense of release, joy, rightness he felt surrounded by his motley orchestra infuses every note. The mournful break-up anthem Constant Craving made her so big that Lang quickly came out — and was soon being wet-shaved by Cindy Crawford on the cover of Vanity Fair.

Recorded all over the world, the hushed, contemplative songs are outstanding homages to the eerie power of restlessness and desolation. He became a major star thanks to songs like Midnight Special and Take This Hammer, both featured on this classic set. This set shows how she could tackle bossa standards with her gloriously cool, light voice, and then switch to a poignant protest song.

Led Zeppelin Physical Graffiti Physical Graffiti, their sixth album, saw Led Zeppelin undertaking in the studio the kind of epic journeys they were already making on stage. Reflecting their mysticism Kashmir , prime riffing Trampled Underfoot and their ribald sexuality Custard Pie , this was big anyway, but its stature has only grown. Leftism swirled with audacious beats and compelling rhythms; the Open Up collaboration with John Lydon remains one of the defining anthems of post-acid-house techno.

With every word of dialogue sung, it also had to sound gorgeous. Lemon Jelly Lost Horizons The whimsical more-acid-vicar? But Evan Dando had three things going for him: his incredible ability to write melodies that combined timelessness and familiarity; his wonderful, warm voice and bucketloads of charm.

No new ground is broken, but not a note is out of place. Forced to confront his innermost demons, Lennon poured his anguish over his childhood, parental abandonment, class, the band and isolation into harrowing but inspired songs such as Mother and Working Class Hero. They remain unmatched torrents of angry introspection.

Level 42 World Machine A jazz-funk influence, slap bass, and archetypal s production — tread carefully here. But bear in mind that Level 42 could produce consummate pop songs that, for those around at the time, may well deliver a pleasurable Proustian rush. Herein are two well-turned examples; the sun-kissed Something About You and the uncharacteristically dolorous Leaving Me Now.

Jerry Lee Lewis Live at the Star Club, Hamburg It should be terrible, ghoulish listening; a star out of favour and fashion, recorded at his lowest ebb, in Backed by the Nashville Teens, his performance vibrates with extraordinary, presumably chemically-assisted rage — the breathtaking, barely contained sound of a man with nothing left to lose, coming out fighting. With its bleeps, subsonic bass, strange FX and odd mix of symphonic elegance and harsh textures, the album paved the way for Aphex, Autechre et al.

The Libertines Up the Bracket Before they became a soap opera, the Libertines were the last gang in town, winning over sceptical hearts and spawning countless bands. The mix of ragtime piano, heavy compression and slapback echo on the title track is but a taster for bizarre collages, backwards loops, and more Neanderthal grunts.

Psychedelic in a rather brown way; Alice through the pint glass, if you like. But what the trio left behind is both startling and unique. His voice was pure Canadian redwood, his songs sounded carved and caressed. This was his seventh and most complete album, straddling Greenwich Village roots and the carefree highway he hit in the 70s.

Elsewhere, accordions wheeze, banjos are plucked and erstwhile teen idol Stephen Duffy finally finds his voice, singing of sepia-tinted romance and a mythic, bucolic England. His mysterious reinvention as the auteur of sexy solo albums gives hope to bespectacled geeks everywhere.

Their debut is an overlooked example of intelligent club-pop, eight years ahead of Soul II Soul. Suddenly you understand how shocking a gay black man in make-up, shrieking sexual slang over monstrously aggressive music, must have sounded 50 years ago. Julie London Julie Is Her Name With her languorous whisper of a voice, London rendered the lounge standards that she sang anything but standard. This slick, sophisticated and wildly varied set mixes anything from brass-backed Latin dance songs with a political edge through to accordion tunes mixed with rap sequences, and slinky ballads dissected with guitar and dub effects.

Joe Lovano Ensemble Streams of Expression Lovano is a hugely resourceful contemporary reed-player, who bridges the swing era to Ornette Coleman and beyond. Here he is dealing not with Miles Davis remakes, but with what Miles made possible. Love Forever Changes A year of violent civil-rights struggles and heavy casualties in Vietnam. High in the Hollywood hills, Love watched the counterculture flaming out. Their debut is a sassy, witty collection oscillating between pop, funk and hip-hop.

The highlight is Life of Leisure, a tale of a slacker boyfriend set to big-band loops. Whether she is hymning the contraceptive pill or kicking an errant lover in the pants, her raunchy sensibility is invigorating. Humphrey Lyttleton and His Band The Parlophones Vols To many he is only an urbane voice on Radio 4, but octogenarian Lyttelton is still a road-going trumpeter, and this is where he started in the 40s and 50s — putting UK jazz on the map by celebrating the early American version, but with growing independence through the 50s.

Djam Leelii it means The Adventurers remains an untouchable west African classic that never growls old. Stately, sinuous and sublime. This sublime selection of tracks from her first four albums is a reminder of her genius as a songwriter: her unique, down-to-earth voice and uncomplicated honesty shine through styles as diverse as s girl groups, country and earlys pop.

Joanna MacGregor Play Pianist Joanna MacGregor came within a single vote of winning the Mercury music prize with this impressive calling card, featuring brief, beautifully prepared tasters of Ligeti, Nancarrow, Dowland, Piazzola, Ives, Cage, Bach and Talvin Singh, seasoned with touches of boogie woogie, stride piano, Keith Jarrett-ish minimalism and Satie-esque playfulness. Madness Divine Madness A collection of tracks by the finest singles band of the 80s.

After winning friends with the nutty sound of Baggy Trousers and House of Fun, Madness matured into a wistful pop group. The results were no less satisfying, and you may find something in your eye when you revisit One Better Day or Our House. But by , the clock was ticking fast. Like a Prayer shut them up. It shows off Madonna at her best. Elsewhere, anger crackles and burns. Since then, Madonna has reinvented herself, flitting between roles of starlet, mother, Kabbalah queen and lady of the manor.

None of them has suited her as well as the character she knew best — the frank, flawed woman who lived behind the masks. Jude Rogers. And Howard Devoto was the first post-punk anti-star, with his cryptic lyrics and anxious-young-man persona. Real Life had punk energy and art-rock ambition, with complex song structures and sophisticated musicianship. Every imaginable romantic experience is refracted through every imaginable genre of music, with moods and sounds glittering like mirror-ball lights across a disco floor.

But he is at his best showing off his slinky, rhythmic finger-picking guitar style and laid-back vocals on blues-edged songs such as Corinna, first recorded on this classic early album. Miriam Makeba The Definitive Collection The first black superstar to emerge from apartheid-era South Africa, back in the 50s, Makeba is still surely the finest female singer the continent has produced.

As this set shows, she could cover anything from rousing township styles either solo or with vocal help from the Skylarks , to jazz ballads, as shown here by a 90s collaboration with Dizzy Gillespie. Manic Street Preachers The Holy Bible Weary of peddling their singular blend of situationism and heavy metal, the Manic Street Preachers staged an internal cultural revolution.

A brilliant, sometimes worrisome triumph of intellect over reason. Herbie Mann Memphis Underground A journeyman flautist with a good feel for bossa nova, Mann broke out of the jazz ghetto with this bestseller. Mariza Fado Em Mim Mariza singlehandedly transformed the Portuguese music scene by bringing fado to an international audience. Impossibly tall and elegant, and with a cool, versatile voice and theatrical style perfectly suited to the often sad-edged fado ballads, she brought the songs back into fashion among young singers in Lisbon.

This Trojan box set showcases their superb harmony singing, songwriting skills and evolving political consciousness. Lee Perry is at the controls. If you only own Legend, start again here. Schooled under the iron hand of 50s Cool School revolutionary Lennie Tristano, Marsh had an oddly squawky sound.

His barline-hopping legato runs and idiosyncratic originality can be heard in this fascinating collection of short, mostly home-recorded improvisations. Suffused with the muzzy glow of an autumn sunset, it roams from the hash-scented Echoplex experimentation of Glistening Glyndebourne to the devotional bliss of Head and Heart. Souad Massi Deb Heart Broken When Souad Massi first moved from Algeria to France, she sounded like an exquisite folk-club diva, singing gently sad-edged, intimate ballads.

Then came this album, adding north African influences and a dash of flamenco to songs that were more rousing and confident — but still dominated by that gloriously soulful voice. Blue Lines threw soul, hip-hop, dub and jazz into the brew, and united hardcore fans, chattering class-dilettantes and old-school rap and soul fans for 40 minutes. Mastodon Blood Mountain Mastodon exemplify modern trends in metal: precision and power.

For all the trad-metal iconography of beasts and fire, Blood Mountain sometimes sounds like a post-rock album. Just a very, very loud one. Michael Mayer Fabric 13 The best dance mixes are like journeys, underpinned by the tension between where you go and how you get there.

The abum even provided the band with an alternative hit, courtesy of Fade Into You. That wig-flipping bluster is all there, but by now there is an incomparable set of chops, too — the fire and skill in some of the arrangements here are staggering. The Stooges for sheer bludgeoning power, the MC5 for their steam-train musicality — Detroit really did have that whole Rock City thing sewn up.

Kate and Anna McGarrigle Kate and Anna McGarrigle These days, Kate McGarrigle is best known as the mother of Rufus and Martha Wainwright, but she should be revered for her role in recording some of the most drop-dead gorgeous harmony songs in existence, along with her sister Anna. When they moved to London, they added free jazz to the pot for this terrific LP.

One side is a stunning collection of solos and overdubbed duos, while the other is a world-jazz jam. The sound is relaxed — a priceless calm before the storm of fusion. The fiery, soulful Jackie McLean was a Parker disciple, but this complex, hard-driving Ornette Coleman-influenced postbop was indeed a step beyond. Meat Loaf Bat Out of Hell Between them, songwriter Jim Steinman and producer Tood Rundgren throw everything — kitchen sink, kitchen, most of the studio — into the first album to spawn a franchise.

You can hear the Springsteen of Born to Run two E-Streeters play on the album , but taken to such ludicrous extremes, lyrically and musically, as to be inimitable. Surf guitars shudder around eerie voices, soupy faraway sounds and songs about globbots, bublights and space boats.

On songs such as Sheep Season, the effect is very much candlelit and swaddled. But they could do slow jams, too. Driven by bowed saws and lush strings, its dreamlike songs drift by on waves of wide-eyed wonderment and ethereal splendour. They came from Recife, in the north-east, and played a key role in the Mangue Bit movement, reviving and updating local styles such as forro, maracatu and ciranda with a rousing blend of chanting vocals, fiddles, percussion and electric guitar. Metallica Master of Puppets It may be hard to believe, but before Napster and group therapy tarnished their lustre, Metallica were once the driving force behind the reinvention of heavy metal.

This, their third album, was what put them there — an hour-long masterclass in punishing riffing without a tantrum in sight. But beneath the sometimes gauche politics, the key to her success is the irresistible way her voice curls itself around rhymes and slogans with a louche, addictive confidence.

Amazingly accomplished — Michael, just 24, was producer and arranger as well as songwriter — the album was accessible yet substantial, and opened his solo career with a bang he has never quite equalled since. The Mighty Diamonds Right Time With their chaste vocals wedded to the nerveless punch of elite Jamaican backing group the Revolutionaries, The Mighty Diamonds had a sleek roots-reggae sound that invoked the precision of US soul ensembles such as the Temptations and the Delfonics.

Right Time deals in major-key spirituality — Rasta anguish so blissfully harmonised that redemption feels inevitable. The Millennium Begin Helmed by soft-pop genius Curt Boettcher, a producer even Brian Wilson was in awe of, the Millennium were a studio supergroup so productive that even the material cut from this debut later made a pretty great album Again. Anyone who digs the Beach Boys or the Association would love this, too.

Steve Miller Band Fly Like an Eagle Miller and the gang made some of the most fun and creative big-time rock of several eras, from their psychedelic lates beginnings to frolicky pop-rock in the 80s. This is a particular sweet spot, where a bit of light space-cowboy experimentation meets FM radio-rock expertise.

Hit after ravishing hit ensues, with hooks, wit and charm to spare. Kylie Minogue Ultimate Kylie Kylie has never made a great studio album, but, as this career-spanning collection proves, she has always had a knack for releasing tremendous pop singles. The final single, Salad Days, probably invented emo, too. Their jazzy, skittery noise is ingenious, and for their unique spirit of independence, humour, politics and poetry, they remain an unmatched inspiration.

With a righteous introduction from MC Smokes, this mesmeric live performance puts tough rhythms and sonorous keyboards to the fore, alongside the exhortations of the Tyson brothers. Dread power at its finest. Casting a sharp but not unsympathetic eye over bohemia and suburbia alike, she captures the louche decadence of the time and the heart of darkness under the surface. Mobb Deep The Infamous West-coast gangsta rap is a high-life fantasy of blunts and booty, but in the half-lit world of Queens MCs Prodigy and Havoc aka Mobb Deep , weed makes you paranoid, money makes you enemies and hell is always just around the corner.

Their second album is a rivetingly claustrophobic urban nightmare. But, judged purely on its songs, Play remains a wonderful coming together of old blues samples, emotionally charged dance music and sure-footed pop hooks. Purists disliked it, but it was a quiet crossover revolution. Superb themes by pianist John Lewis, and sweepingly inventive improv from vibraphonist Milt Jackson who gives a fragile instrument immense strength , feature on these early sessions.

The Modern Lovers The Modern Lovers If you want defiance of prevailing orthodoxy, look no further than this compilation of demos. This ECM release created a blueprint for a new brand of Nordic post jazz that would become hugely influential. With production by Dallas Austin and Rodney Jerkins, and a guest appearance from OutKast, this set the template for 21st-century soul.

Even classical recitalists play Monk now, and his work is so full of promise for interpreters that its profile is always rising. The title track was so convoluted and structured, with its stuttery tempo-changes, that in the end it had to be stitched together out of 24 takes. Pannonica, and the only non-original, I Surrender, Dear, add a sinister edge to the ballad form. Looking back, it seems obvious that they could never have gained the credibility they craved at the time.

But if this album — which spans folk-pop, garage rock and the gorgeous ersatz psych of The Porpoise Song — had been the work of a group with a greater reputation, it would have been critically worshipped. Wes Montgomery The Incredible Jazz Guitar Of Like his disciple, George Benson, guitarist Montgomery was a natural improviser who eventually just recycled hit licks on the designer-funk route. But guitarists revere Montgomery, and this — his most thrilling jazz set, with great bop piano from Tommy Flanagan — shows why, with its Django Reinhardt octave runs and effortlessly fresh spontaneous melody.

Christy Moore At the Point, Live A glorious soulful performer who can switch from serious political songs to whimsy and comedy, Christy Moore is best experienced playing live, and this solo set, recorded in his home city of Dublin, shows off his extraordinary range, from the poignant Missing You and exquisite Cliffs of Dooneen to the delightful Delerium Tremens.

These recordings are mostly from the late 50s, and show his extraordinary range, from cool, crooned ballads to driving, infectious dance songs. Lee Morgan The Sidewinder Best known for its bold, funky title track — a jittery boogaloo that can still fill dancefloors — this also features four other vivid, angular slices of razor-sharp hard bop.

And the trail-blazing producer, with his electronically tweaked falsetto, sounds like a space-age Bee Gee singing proto-techno robo-pop. Morrison sings like a man on fire. Jelly Roll Morton The Complete Recorded Works Morton, the first great jazz composer and a travelling piano star, insisted that he invented jazz. In their vivacious themes, varied rhythms, and narrative and collective strength, they are the apogee of pre-swing jazz.

And finally, the lyrics: poetic, evocative, generous and above all wise. Moese opens her heart about her troubles and desires, and finds salvation in working through them. Frontman Ian Hunter was a brilliant observer of the pop experience — his songs are fascinating, raucous snapshots of motorway life, all back-biting, star-struck kids and imploding heroes. These 10 cuts — all narrated in that easy falsetto — overturn any attempts to paint him as a one-track pony.

Wembley Stadium awaited them. But somehow they reinvented themselves, making this massively influential album. Surrounded by feral guitar noise, their diffident and erotic boy and girl singers sounded as if they were being menaced by the very monster they had created. Her lightly melismatic vocals suited these rhythmically tricksy tales, capturing perfectly the highly charged sadness of a dead affair.

This formative pop influence coupled with his love of techno clubs on the mainland produced a winning hybrid that even Elton John evangelised for. The album was rerecorded in , with the electronic backing replaced by live performances, but this is the definitive version. He has experimented, not always successfully, with a wide range of styles in his lengthy career but was surely at his best with this early mbalax set, with its blend of talking drums, soaring, passionate vocals, and a title track dealing with the problems of Africans in Europe.

Nas Illmatic Illmatic had a finger in every hip-hop pie. There has never been a soundtrack like it. The Necks Drive By This Australian trio make a kind of trance music that defines its own sensual world: keyboards, bass and drums meld in hour-long, improvised performances that are like nothing else. Dive in and enjoy. Possessed of a huge voice, as well as a sly sense of humour, this asks you to pay court to true folk royalty.

And he had the knack of picking the right musicians, such as Freddie Hubbard, drummer Roy Haynes and the magnificent Eric Dolphy. It was a career-defining record, belatedly transforming Nelson the A-list songwriter into Nelson the A-list performer. The red meat of this concept album by eccentric songwriter Tupper Saussy imagine a cross between Jimmy Webb and Frasier Crane was an affair between a businessman and a younger girl — she gets chucked in the last song.

On the verge of break-up, the two halves of the fantastically influential Krautrock duo point out why their partnership has run its course. In this instance, the Americans are right. This Chicago act manoeuvred from Farfisa-fed trash I Confess into softer, harmonised territory, flitting between the dewy Blue Eyes , the trippy Sun Within You , and tearful Americana Prairie Grey on their final album.

New York Dolls New York Dolls A bunch of hulking glam tarts, staggering around in platforms and squeezed into satin strides — by their own admission, the New York Dolls lowered the bar within the rock industry with their debut album. Joanna Newsom Ys An exceptionally ambitious minute, five-track concept album of baroque folk, bursting with gloriously intricate harp-playing, glossy strings and peerless poetry.

A beautiful singer, but also a songwriter of surreal accomplishment see Good Old Desk , Nilsson brought a sense of vaudevillian showmanship to rock music that sometimes prized enlightenment over entertainment. Love is a fraud! Compromise is corruption! We meet Cobain the fan, displayed over six covers. We see the clever pop structures in their originals, stripped of their electric roar. The debut by the British Nirvana featured super-pretty chamber-style orchestral arrangements by Sid Dale, who worked with Scott Walker, and was arguably the first concept album.

The breathtakingly beautiful opener, Wings of Love, remains a highlight of the era. Stina Nordenstam Dynamite Harsh, gritty guitars crackle and rumble, as if the sound is being forced into the open; occasionally, baroque orchestral arrangements break through. Nordenstam herself is suspended above the clanking industrial arrangements as if in stasis, her high-pitched timbre giving the impression that the edge of despair is the most natural place to be. An astoundingly sure-footed concept album, it tells the story of a small-time criminal from birth to suicide.

NWA Straight Outta Compton There had been rap records that talked about gang crime in lurid, first-person detail before, but this combination of Public Enemy-influenced noisy beats and lyrics of violence painted in garish verbal colours opened the floodgates.

Eazy-E and his cohorts claimed their work was street reportage, but their cartoonish excess was also darkly, devilishly funny. O Brother, Where Art Thou? Miss America remains her only proper album to date — but what an absorbing listen it still is, her distinctive vocal phrasing shimmering with beauty. And so it was. Few debuts are better. By ,though, Ochs — who took Vietnam and Nixon very personally — was writing the more poetic odes to the death of the American dream. The title was no gag, either — one more album and he was gone.

His collection of early singles wraps rattling beats the key track is called Renegade Snares and timestretched vocals in lush, bittersweet textures. This follow-up to the groundbreaking jangle-singles for the Postcard label was by turns sad and soaring, but always brilliant. Invited to reform after a break of 16 years, they sounded as fresh and engaging as ever — and this time around, the quality of their recordings was vastly improved.

Vocal drones, icy synthesizers and the warm tones of a mellotron swung the mood between eerie dystopian futurism and heightened euphoria. Original Dixieland Jazz Band Sensation! Opener Stolen Car is a perfect rough-and-ready counterpart to the dreamy Pass in Time and alt.

They get Rita Lee to sing, they plug their guitars through sewing machines, they cause riots, they go mad. Outback catches his tense vitality on a teeming, tumbling, sometimes ferocious session, featuring fiery South Africans Louis Moholo on drums, Chris McGregor on piano and Harry Miller on bass. Greg Osby Banned in New York Restlessly dynamic saxophonist Osby was in on the 80s free-funk M-Base movement, and has also checked out hip-hop and rap.

This punchy set includes a young Jason Moran on piano, and follows a jazz line from Ornette Coleman back to Charlie Parker, with Parker and Sonny Rollins themes among the classic materials trenchantly reworked. By 22, he had retired from music. Three of those years were spent writing, arranging, performing and singing every note of this psychedelic masterpiece himself. OutKast Stankonia The fourth album by this Atlanta, Georgia duo, comprising archetypal playa-hustler Big Boi and alien androgen Andre , was a veritable cornucopia of rap and funk delights.

Bombs Over Baghdad were just the start of this track hip-hop odyssey. Augustus Pablo King Tubbys Meets Rockers Uptown Dub reggae is so closely woven into the fabric of popular music that without it, entire genres would not exist. The reverberations of this supreme meeting, blissful and thrilling, shall surely echo through space and time for ever. Keith Cameron. New gothic country starts here. The Garifuna people are descended from escaped African slaves who mixed with local Carib people, and are now scattered across central America.

Palacio, from Belize, is their best-known performer, and this soulful, rhythmic set is a powerful introduction. Panda Bear Person Pitch You could easily let it pass you by: Person Pitch seems like so many jumbled sounds until you pay close attention, and the luxuriant melodies and careful textures start to take hold. A young Davis, Dizzy Gillespie and others join saxophone genius Parker on these essential mids recordings; timeless themes such as Ornithology and Yardbird Suite, inspired improvising and radical vision make these epochal episodes in modern music.

This finely detailed set features two trios, one including imaginative German pianist Alex von Schlippenbach and drummer Paul Lovens. Grievous Angel encompasses heartworn balladry, raucous hoedowns and, in Return of the Grievous Angel, a hallucinatory journey through country music from Cheyenne to Tennessee.

Jaco Pastorius Word of Mouth The debut album knocked everyone sideways, but the impressive follow-up never got its due. Given complete artistic freedom, the duo treated the score with the same care and attention as their debut full-length by recording more than sixty minutes of music over a four-month period across studios in Brussels, Berlin and Reykjavik with the help of their long time collaborative sound engineer Francesco Donadello.

During the process they came to the realization that this would become their official second studio album. McGregor provided them with the inspiration to expand their sound palette into more electronic territory, whilst keeping their signature chamber sound, resulting in a very unique release. Named one of the top albums of all time by Rolling Stone Indonesia, Alam Raya was recorded in and has only been available on cassette until now.

This fully licensed re-release will be one to hold on to. With the International Edition being limited to copies the Indonesian Edition of copies has already sold out , this will surely move quickly. Sadly the leader of the band, Iwan Madjid passed away very recently and will be missed.

May he rest in peace. While the songs are still driving and catchy as a fish hook, the arrangements are far more sophisticated. Big Boys were highly influential in their introduction of funk rhythms to hardcore punk and also featured Tim Kerr on guitar Poison The Big Boys were also one of the first bands involved in the skatepunk scene, including having their very own skateboard, appearing in Thrasher magazine and many Thrasher skate videos.

Essential listening, highly influential. File Under: Punk Listen Here. Working predominantly from a studio set up in her Edinburgh home, the record was slowly pieced together, and reveals an artist at her peak, capturing her songs within fluid settings that masterfully marry content and form.

I wanted to try to emerge from the shelter of others and stand out in the open. Equally, working without the induced pressures of studio deadlines enabled her to craft it slowly and lovingly in her own time, weaving together tracks out of numerous takes. Predominantly guitar or piano led — with additional instrumentation building throughout — the songs have no underpinning bass-line or percussion, giving each instrument and voice the chance to pace itself.

Overcoming adversity through sheer willpower, its very existence is a dazzling triumph. This album was quite a departure from the synthpunk background that the band was known for. This record was sort of the start of a new era of the band. Diving deeper into a epic Psych rock sound. We now have copies back in stock on mixed color vinyl. Grab one today as they are sure to go quick. Broken hands, lost Rickenbackers, and sliced tendons aside, Price guitar, vocals , Hugo Morgan bass , Wayne Maskell drums and Paul Allen guitar hit many highs during this time.

Strap in. Let go. It is new, bold and forceful. Yet desperation and loss lurks behind. This is an album about seeing, learning, and rejecting things, in a cycle that repeats and builds. The reference points are wildly varied — on a recent German radio show, the band played records by Abner Jay, Rowland S. Howard, Brian Eno, and Coil — but the sound is uniquely and darkly Iceage. The songwriting is always unsettling, extremely intricate and the sound is dark and dense at the same time.

The tracks need several plays to be absorbed, but this effort reveals an extreme sense of gratification in the end. First pressing comes on a lavish white vinyl. The increased amount of actual singing really makes a difference on the more mellow moments, but widespread experimentation with new elements reaches far beyond the vocals here.

They both come up with beats and sing. Over the next couple years, the pair releases two very limited CDRs and tours Scandinavia. One year later, Enfant Terrible releases their first album Dans. Over the next couple of years, Kim Ki O appears on various compilations and tours Turkey and Europe several times.

They collaborate with Turkish filmmakers Merve Kayan and Zeynep Dadak on the short film Elope and write music for the Turkish performance group biriken for their play Re: Fwd: die in good company. In , Lentonia Records out of France releases Grounds. It inspires a followup album of remixes called Grounds Album Remixes, also on Lentonia.

These ten early tracks are a great addition to their catalog. Supervised by director Giancarlo Santini and created by sound engineer Gilderoy, the score is a journey into the unconscious, where ghosts swirl with ethereal drones as screams echo into the night. Adding to this is the conspiratorial dialogue from actresses Silvia, Claudia, and Elisa, reading bizarre incantations that unleash the full horror of what lies beneath.

While both of these bands have kept him busy over the past few years, his mind was always on his own songs. He would come home and secretly work on his own material—explosive, crunching, grinding songs with soaring melodies and gentle bridges cascading into torrents of riffs. Eventually he shared his work and allowed Segall to put out a tape of his bedroom recordings on his label God? The tape was well received, so Ubovich recruited several friends with whom he could play around Los Angeles and San Francisco, and people began to see that he was more than just a sideman to his heavy-hitting comrades.

Eventually, In the Red took notice and the Meatbodies were added to their roster. Once the tracks were done, he sent them up to Chris Woodhouse to give them just the right final touches of perfectly controlled chaos. And perfectly controlled chaos is what this trifecta delivered. The self-titled record is a sonic experience truly evocative of its creator: Unabashed, unrestrained, beautiful and strange. Riffs for days. This is a record defined by positivity and radical love. Thurston Moore has been at the forefront of the alternative rock scene since that particular obriquet was first used to signify any music that challenged and defied the mainstream standard.

The general mood here is one of loneliness and desperation, eloquently expressed through both the lyrics and the rhythmic, sprawling instrumentation. Modest Mouse made their first significant mark with songs whose meanings are simultaneously universal and painfully personal. The main soundtrack themes were chosen from two arrangements that Morricone had already drafted two years earlier; once he removed the lyrics and added the unmistakable whistle of Alessandro Alessandroni, the spaghetti-sound was finally complete!

The film was an incredible success, and projected Leone, Morricone, and in particular the actor Clint Eastwood into the Olympus of the Great. This new edition sees the original seven tracks of the score in a completely new layout. The music is colorful, bouncy, gooey, and completely irresistible. More than this, Quando is one of the rarest Morricone scores.

Originally released by CAM in , it has never been reissued on vinyl since then. The soundtrack for the film was commissioned to Ennio Morricone, who at the time was already a full-time score composer, and had already worked in the same field. The Maestro wrote the entire OST starting from a single, obsessive theme, arranged in many different ways for each different scene or atmosphere. The whole soundtrack had never been released until , and this is the first complete edition on vinyl ever.

This was a time when popular music was still growing up, and these outsider guys from Canada came out of nowhere and made this mindfuck of record that was years ahead of itself. No Record is mandatory listening. You can feel the black gloves and cold steel listening to this wonderful music, and maybe even following the blood drops — pure Italian Soundtrack Magic executed in the fantastic way only Orgasmo Sonore does!

The original master tapes were discovered in the Paramount Pictures vaults by Manfredini, and have been faithfully restored to create the ultimate LP release of one of the most iconic scores in the history of horror cinema. The score begins in a minimalistic way, with delicate piano providing an eerie and foreboding presence.

There are flashes of beauty amongst the sinister, with a solo violin providing a brief but exceptional moment of escape, but even that feels uncomfortable. Since then the band has been mostly on the road, racking up tour dates and ramping up the attack on their existing songbook. The classic release by Wilson Pickett cut with the Muscle Shoals session crew while Duane Allman added his intense, bluesy guitar to the mix.

File Under: Soul Listen Here. Equally remarkable is the killer soundtrack provided by Shooting Guns. A unique blend of heavy carpenter electronics mixed with Black Sabbath-esque riffs and even a hint of country. Upon hearing it, we just knew we had to release this. Vinyl packaged in a deluxe gatefold old school tip-on jacket with original artworks by Randy Ortiz Marvel Comics, Mondo,….

Also included is a free digital download. In addition to the vinyl release there is a cassette tape version housed in a VHS clamshell box. Like most key figures in the Antipodean noise scene, Chris Smith exists in the adventurous-musician nethersphere: hailed by followers, unknown to most. Thankfully, Hermit Hut has taken on the mission of releasing vinyl of this impossible-to-find album.

Recorded with a band, the album touches many tangents while converging as a glorious whole. Initially inspired, surprisingly enough, by The Germs, Smith creates music as a solution to his own inner turmoil. He captures an essential rawness on par with Jim Shepard.

Bad Orchestra is an assault that is wrought with skill.

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Tom Grey's Dream The Dark Side Slappin' My Baby Around Hippy Dance Little Less Talk Big Orange Guitar-Father Tom Mudflap Baby Skateboard Drinkin' Buddies For The Money Dead Man's Party Bonus Track Road Rage Hillbilly Love Train To Nowhere Cats Like Us Rockabilly Rebel Gypsy Queen Double Time Roadkill Cafe Havin' It All That's Not Rockabilly Better Be Some Drinkin' Rockinest Cat In Town Lazy Surfer My Baby Drives Me Crazy The Roadkill Cafe Hippie Dance Blaze Of Glory I'm A Bowler The Music Business The Lost Highway Mannequin Obsession Everybody Smokes In Europe Im A Bowler Havin It All Leavin Colorado Hot Rockin Rythm Tom Greys Dream My Baby Moved Original Mix Better Be Some Drinkin McCabe's that very evening.

He went to the show where he saw the band performing songs from bands of the Rockabilly Revival, including The Stray Cats and The Blasters, as well as Rockabilly classics of the 50s. Before long Lance had joined the band as bassist. Those were the days of night nightclub engagements all over the state. Before long the band started receiving requests to play at private parties and weddings for offers larger than a whole week's pay at nightclubs. There were at least 10 very active booking agents in Denver who kept Chuck's phone ringing off the hook.

At their agents' and client's request, the band found themselves adding a great variety to their repertoire and most often playing in tuxedos for society and corporate events. Herrn-Besuche Nicht Erlaubt Johnny Seite 2: Was Vorbei Ist, Ist Vorbei Kein Mann Weit Und Breit Sunny Der Strom Der Zeit Belfast CD Help! Gentlemen Callers Not Allowed Say Yes A Baby Of Love Hold On First Love Johnny Why Don't You Do It?

The Girl From Ipanema Cigarillo Bonus Track Bend Me Shape Me The River Sings Bend Me, Shape Me Go Down Mainstreet Discothek The Heat Is On Queen Of The Night Seite 2: Cool Rock'n'roll Take Your Time Heartbreaker Tom Cat Queen Of The Night Cool Rock 'N' Roll The Summerwind Go Down Mainstreet Long Version Discothek Long Version Tu es Remix Willst Du mit mir schlafen geh'n?

Zieh' mich aus Rasputin Was vorbei ist, ist vorbei Bleib bei mir - geh doch Help Help Cool Rock'n'Roll Bend me, shape me Tom cat Gentlemen callers not allowed Say yes Discotek A baby of love Hold on First love Why don't you do it The girl from ipanema The heat is on We gotta get out of this place Queen of the night Cool rock'n'roll Take your time Help, Help Long Version Help, Help Short Version Side 2 Gentelmen Callers Not Allowed

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