BBC Sessions 1982-1984 features three BBC sessions which have never been available physically before. Two of the sessions were with admired radio broadcaster John Peel. Includes early versions of the singles “Walk Away” and “No Time To Cry” that would end up on their debut First And Last And Always. Includes covers of The Stooges’ “1969”, Dolly Parton’s “Jolene” & Hot Chocolate’s “Emma”. This title charts their earliest days as an indie band in 1982 to the time they signed to Warner Records in 1984.

The Comsat Angels were an English post-punk band from Sheffield, England, initially active from 1978 to 1995. Their music has been described as "abstract pop songs with sparse instrumentation, many of which were bleak and filled with some form of heartache". They have been credited as being an influence on later post-punk revival bands such as Blacklist, Bell Hollow, Editors and Interpol. The Comsat Angels toured heavily in the UK and western Europe, especially in the Netherlands; the band's two concerts in August 1982 in Iceland had a strong influence on the music scene in Reykjavík. They also toured the United States twice. Their music has been extensively reissued and recompiled since 1995 by various record labels.

With their ringing, bagpipe-like guitars and the anthemic songs of frontman Stuart Adamson, Scotland's Big Country emerged as one of the most distinctive and promising new rock bands of the early '80s, scoring a major hit with their debut album, The Crossing; though the group's critical and commercial fortunes dimmed in the years to follow, they nevertheless outlasted virtually all of their contemporaries, releasing new material into the next century.

Generally regarded as Peter Gabriel's finest record, his third eponymous album finds him coming into his own, crafting an album that's artier, stronger, more song-oriented than before. Consider its ominous opener, the controlled menace of "Intruder." He's never found such a scary sound, yet it's a sexy scare, one that is undeniably alluring, and he keeps this going throughout the record. For an album so popular, it's remarkably bleak, chilly, and dark – even radio favorites like "I Don't Remember" and "Games Without Frontiers" are hardly cheerful, spiked with paranoia and suspicion, insulated in introspection.

While the goth scene in England was picking up commercial steam in the mid-'80s, the Sisters of Mercy may have seemed quiet, but they roared back with 1987's Floodland. Opening with the driving two-part hymn "Dominion/Mother Russia," Sisters leader Andrew Eldritch (along with bassist Patricia Morrison) creates a black soundscape that is majestic and vast. While the earlier Sisters releases were noisy, sometimes harsh affairs, Floodland is filled with lush production (thanks to Meat Loaf writer/producer Jim Steinman and the New York Choral Society) and lyric imagery that is both scary and glorious. The slower tracks, like "Flood" and "1959," are some of the best ethereal sounds goth has to offer, and the downright regal "This Corrosion" is one of the best songs of the genre. A definite milestone.

The Gossip close Music for Men with a song called "Spare Me from the Mold," but Beth Ditto, Nathan Paine, and Hannah Billie could never be accused of conforming. They were still a relatively underground group when Standing in the Way of Control's passionate mix of punk, soul, and disco became their breakthrough – and they sounded so confident on it, it felt like the mainstream was coming to them rather than vice versa. They've got their own piece of the pop (and pop culture) mainstream now, and Music for Men feels aboveground in the best possible way. Befitting its major-label debut, this is the band's most polished music yet, a balance of Control's ferocity and the sleek remixes of the album's singles, but it's still not slick. Most of Music for Men finds The Gossip sticking to their roots and using their success to get their messages out to as many people as possible. These songs are just as empowering as their earlier work, though they're more subtly defiant.

The Fall were an English post-punk band, formed in Manchester in 1976. The band existed until 2018 and was essentially built around its founder and only constant member Mark E. Smith. Initially associated with the punk movement of the late 1970s, the group’s music went through several stylistic changes over the years, but is often characterised by an abrasive guitar-driven sound and frequent use of repetition, and is always underpinned by Smith’s distinctive vocals and often cryptic lyrics.