Rare 1993 UK 68-track 4-CD collection including The Specials, Madness, The Selecter, The Beat, The Bodysnatchers, Rico, Elvis Costello and many more. This 4 CD box set collects the A-side and B-side of every single released on the label. Both sides of the Dutch Concrete Jungle single plus both tracks from the free single which accompanied initial copies of More Specials are also included. The Bodysnatchers live version of 007 is the only unreleased track in the set, however it did previously appear in the film Dance Craze but failed to make it on to the films soundtrack album. Jerry Dammers was less than impressed with its release and had this to say about it: "It's real train spotters stuff with every B-side from every free single and I wasn't even consulted about it. In some ways that (The Compact 2 Tone Story) is the worst." (Uncut Magazine interview 1998).

The brilliance of this collection is that it combines the standard Brit-punk anthems by the Sex Pistols, the Damned, the Buzzcocks, and Stiff Little Fingers with other great songs that typify the variety and range of punk-era independent music from both sides of the Atlantic. The songs are so well chosen that the punk aesthetic is further revealed by the inclusion of songs that characterize pub rock, new wave, and other related genres. The usual punk suspects ("New Rose," "Anarchy in the UK") are all here, along with many other treasures: Dr. Feelgood's "Milk and Alcohol", Devo's "Mongoloid," Jonathan Richman's "Roadrunner," Talking Heads' "Psycho Killer," and Television's "Marquee Moon." The less commonly anthologized punk selections are inspired, too: the Ruts' "Babylon Is Burning," Generation X's "Ready Steady Go," and X-Ray Spex's "Identity," along with the seminal "Sheena is a Punk Rocker." The conception of the genre is expanded further to include Elvis Costello, Iggy Pop, XTC, Joe Jackson, the Pretenders, the Tubes, and Blondie, and their presence overcomes the tendency for boring repetition on a very long collection.

"Standing on a Beach" (titled "Staring at the Sea" in CD format in some countries) is a singles compilation album released by English rock band the Cure in May 1986, marking a decade since the band's founding in 1976. The album's titles are both taken from the opening lyrics of the Cure's debut single, "Killing an Arab". The "New Voice - New Mix" of "Boys Don't Cry" (released as a single little over a fortnight before Standing on a Beach) was not included on the album; thus the album's singles span only from 1978 to 1985. The version of "A Forest" here is neither the album version (which was also on the 12" single), nor is it the 7" single edit (which removes a few bars between verses and fades out part way through the guitar solo ending). The album was critically acclaimed. Stephen Thomas Erlewine of AllMusic called it "one of the finest albums of the '80s".

No More Shall We Part is the eleventh studio album by Nick Cave and the Bad Seeds, released on 2 April 2001 in the UK (and 10 April in the US). The album came after a 4-year gap from recording, following the much acclaimed album The Boatman's Call. Cave had to overcome heavy heroin and alcohol addictions in 1999-2000 before starting work on the album. It was met with mostly positive reviews. This is Limited Edition with Two Bonus Tracks and a Cdrom with Exclusive Footage of the Band. The Bonus Tracks Are 'bless his Ever Loving Heart' and 'grief Came Riding'.

The U-Men are one of the best bands I’ve ever seen. They were hypnotic, frenetic, powerful and compelling. It was impossible to resist getting sucked into their weird, darkly absurd world. They effortlessly blended The Sonics, Link Wray, Pere Ubu, and Captain Beefheart. Their shows were loose-limbed, drunken dance parties and no two shows were alike. The U-Men were avant-garage explorers and, most importantly, they fucking rocked. I was lucky enough to live in their hometown and I saw them every chance I could.

Digitally remastered and expanded two CD edition of this 1986 album from the Manchester quartet, one of the most successful and consistent bands of the '80s and beyond. The rest, as they say, is history. The album contains a mixture of post-punk and electronic styles, roughly divided between the two sides. Disc One in this package contains the original album in it's digitally remastered glory. Disc Two is filled with eight non-album singles, B-sides and remixes. This is as great as it gets!

2000 2-CD set featuring 39 classic timeless hits from the millennium including Queen, The Rolling Stones, Peter Gabriel, John Lennon, Paul McCartney & Wings, David Bowie, The Who, Elton John, The Beach Boys, Simon And Garfunkel, Derek & The Dominoes, Prince, U2, Bon Jovi, Blondie, Oasis, Lenny Kravitz, Simple Minds, Supertramp, Dire Straits, Tina Turner, Bob Marley, UB40, Kate Bush, Phil Collins, Roxy Music, Rod Stewart, Bee Gees, Michael Jackson, Abba, Janet Jackson, Diana Ross, Marvin Gaye, Barry White, Pet Shop Boys, George Michael, Massive Attack, Texas.

Low-Life is the third studio album by English rock band New Order. Released in May 1985 by Factory Records, Low-Life is considered to be among New Order's strongest work, displaying the moment in which the band completed its transformation from post-punk hold-overs to dance rock. The album shows New Order's increased incorporation of synthesizers and samplers, while still preserving the rock aspects of their earlier work. In 2000, Q magazine placed Low-Life at number 97 in its list of the 100 Greatest British Albums Ever. Low-Life (alongside New Order's 1989 album Technique) was included in the book 1001 Albums You Must Hear Before You Die. In 2008 the album was re-released as 2×CD Collector's Edition set, with the bonus disc containing non-album singles, 12" mixes and b-sides.

Digitally re-mastered and expanded two CD edition of this 1983 album from the Manchester quartet, one of the most successful and consistent bands of the '80s and beyond. After the suicide of vocalist, Ian Curtis, the three surviving members of Joy Division regrouped under the band name New Order, adding Gillian Gilbert on keyboards. The rest, as they say, is history. Disc One in this package contains the original album in it's digitally re-mastered glory. Disc Two is filled with eight non-album singles, B-sides and remixes. This is as great as it gets! The album was as included in the top 100 albums of the 1980s lists in both Rolling Stone and Pitchfork Media.

I Could Be Happy: The Best of Altered Images is an excellent, thorough collection covering all of the highlights from the band's three albums, adding several non-LP singles for good measure. All of the group's hits – "Happy Birthday," "I Could Be Happy," "See Those Eyes," "Love and Kisses" – are presented, usually in their single versions, plus many fine album tracks, making I Could Be Happy a definitive retrospective.

Welcome to the Panopticon of darkness! With Unbroken, the German pioneers of European Gothic Metal, CREMATORY, dare to perform a tightrope act in the somber void. 15 energetic tracks within brutal riffs, deep growls and tight drum grooves prove the band’s diversity — even after almost 30 years in business. The concise influences of Neue Deutsche Härte turn Unbroken into a bravura-piece in an industrial guise. The opening track of the album takes the listener into a darkly-nuanced soundscape, appeals to the strength and self-determination of the band and their fans, and allures with a certain kind of hymn character. The most contemplative CREMATORY album to date closes with the final tracks "As Darkness Calls", a powerful first class offer, and the emotional ballad "Like The Tides”. The latter presents the fragile side of the band and symbolizes an ode of transience, love and pain. CREMATORY remains Unbroken!

“The night is short. It weighs heavy, but the light always awaits us.” Diamonds, the new album by The Birthday Massacre, contains an exploration of darkness as well as light, poison as well as its antidote. Within the songwriting, one can sense the passing of time, and the conflicts and resolutions that we can all feel. Nights end, and days resolve. If we look inside, we can find these precious emotions and conflicts. Every single one of them is valuable. Like the diamonds in the dark. And thus, we have "Diamonds" by the Birthday Massacre. The distinctive soaring synths and guitars, paired with our Chibi's beautiful familiar and reassuring voice, guides us all into the darkness as well as out to the light - guides us to mourn and to look inside, but also take our hand and invite us to dance, and remember - the night is short. It weighs heavy, but the light always awaits us.

Ten years ago, White Lies released their monumental debut To Lose My Life, the album which kick-started their music career. To celebrate a decade of soaring success, an exclusive 10th Anniversary Deluxe Edition will be released via UMC on 25 October.

This aptly titled release from '80s art rockers and Talking Heads side project Tom Tom Club is indeed good, bad, and funky. Tina Weymouth and Chris Frantz have explored a stunning amount of musical styles within the confines of this album, with every song sounding like it was produced by a different group. The use of a variety of vocalists, including Weymouth, who at times sounds like a 16-year-old Japanese girl instead of her more mature self, as well as Mystic Bowie and Charles Pettigrew only seems to heighten the variety of sounds offered. The lyrics are simple, yet clever, and laid over a variety of sampled tracks, scratching, and other turntablism and live instrumentation. The resulting sound ranges from dub to dance-pop to spacy funk. The variety does allow for some unevenness, however, though duds like the repetitive and spare "Time to Bounce" are more than balanced by gems like "Happiness Can't Buy Money" and the instrumental cleverness of "Lesbians by the Lake," among others.