'The Best of the Pogues' was the sixth album released by The Pogues and marked a watershed for the band. They had sacked founder, principal songwriter and lead singer Shane MacGowan and the album was intended as a end of an era before their projected renascence.

The Boots were a German outfit formed on the model of such British Invasion blues-based outfits as the Yardbirds, the Pretty Things, and Them. Lead singer Werner Krabbe had most definitely heard at least a couple of Van Morrison singles, while lead guitarist Jurg "Jockel" Schulte-Eckel utilized fuzz-tone effects for all they were worth, and also may have had a passing awareness of the Who; at least, he was known – before Jimi Hendrix ever started showing up with lighter fluid on stage – for playing his instrument with screwdrivers and other metal tools as well as the occasional beer bottle. The rest – Uli Grun on rhythm guitar, organ, and harmonica; Bob Bresser on bass; and Heinz Hoff on drums. This single-disc anthology has 28 tracks the Boots recorded between 1965 and 1968, most of them from the singles and debut LP the band released in 1965-1966 with original lead singer Werner Krabbe.

The prolific veteran continues to cover a lot of musical territory on an album that resonates with the sound of his glory years of the mid-to-late 1970s. On the first two songs, Parker recalls his breakthrough with Dylanesque phrasing on "I Discovered America" before flashing forward to the current state of British pop celebrity on "England's Greatest Clown." There's his trademark sardonicism in the socially-conscious singalongs of "Ambiguous" and "Stick to the Plan," while other highlights include songs of resilience ("Suspension Bridge," "Hard Side of the Rain") and redemption ("Somebody Saved Me"). At almost eight-and-a-half minutes, "The Other Side of the Reservoir" is epic by Parker's standards, as he follows Van Morrison into the mystic. The closing "All Being Well" could pass as a traditional Irish benediction. With arrangements largely built around Parker's acoustic guitar, the predominantly midtempo material doesn't rock as hard as Parker has, but the hooks sink deep into the soul.

The Best of Cold Chisel: All for You is a greatest hits album released in October 2011 by Australian rock band, Cold Chisel. It debuted at No.2 in Australia. A limited edition included a bonus disc that featured a dozen of the band's most loved covers. A Deluxe edition was released in 28 September 2018. In 2019, the album was certified 4x Platinum in Australia.

Stiff Records will go down in history as the most important UK independent label ever. The Stiff staff have released some of the most legendary punk and new wave records of all time, covering every cool musical revolution first and with style. This is a hundred track slice of punk and new wave history, complete with 68 page book. "If it ain’t Stiff it ain’t worth a f*ck!"

Best of Mano Negra is a compilation album by Mano Negra, released in 1998. It included their greatest hits from 1988 to 1994. Mano Negra (complete Spanish name: La Mano Negra, sometimes nicknamed La Mano in France) was a music group active from 1987 to 1995 and fronted by Manu Chao. The group was founded in Paris by Chao, his brother (Antoine) and cousin (Santiago), all born of Spanish parents with partly Cuban roots. Their songs were mostly in Spanish, English and French, often switching from one language to the other in the same song or in the middle of a sentence or title (e.g. "Puta's Fever"). They also had a hit song in Arabic. They are considered pioneers of world fusion. Mano Negra incorporated an impressive array of musical styles: punk rock, flamenco, ska, salsa, French chanson, hip hop, raï, rockabilly, reggae and African rhythms.

Above the album worked the Rhino '100 Greatest Metal ', and his release took place on 2020. The album has got 100 songs with a total duration of more than an hour. A compilation is a compilation of original music.

This Year's Model is Elvis Costello's second album and his first with the Attractions, released in 1978. It was mainly recorded at Eden Studios in West London. It was voted the best album of the year in The Village Voice Pazz & Jop critics poll. In 2000, Q magazine placed This Year's Model at number 82 in its list of the 100 Greatest British Albums Ever. In 1987, Rolling Stone magazine ranked it number 11 on its list of the best albums of the period 1967–1987. In 2003, the album was ranked number 98 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time.

As part of The Stranglers' celebration of their Ruby Anniversary, the definitive collection of the B-side recordings they made whilst signed to Epic is released for the first time, via their own label. Appropriately, as befits a band marking forty years together, Here & There: The Epic B-sides Collection 1983-1991 gathers 40 tracks across 2 CDs and is also released as a 40 track digital package. The Stranglers released no less than 13 singles in the UK during this period, which saw them produce five albums: four studio and one live. The Stranglers signed to Epic Records in 1982 having been with United Artists / Liberty since 1977. The change of label coincided with changes in marketing policy across the UK industry - often dubbed "the Frankie Goes to Hollywood effect". Previously, The Stranglers' had released only one 12" single - an extended version of Bear Cage in 1980 - but from 2nd Epic single, Midnight Summer Dream until 1990, each release had a 12" version which required extra studio or, increasingly, live tracks to "add value" to the package.

The first volume in a series projected to analyze the punk phenomenon on a year-by-year basis, British Punk Rock 1977 assembles some of the less well-known but no less influential sides to emerge from that pivotal year. Collecting 20 tracks, it jumps from established cult heroes (Alternative TV's "How Much Longer," Penetration's "Don't Dictate," the Vibrators' "Baby Baby") to forgotten favorites (the Drones' "Corgi Crap," the Sniveling Shits' "I Can't Come," the Pork Dukes' "Bend & Flush"); some of it still holds up, some of it doesn't, but all of it remains a testament to its time and place.

Billy Childish Is Dead is a 2005 documentary about British singer, guitarist, songwriter, and poet Billy Childish, who is still not dead as of this writing. Released in the summer of 2005, it was directed by Graham Bendel. The documentary is 69 minutes in length, and the DVD featured a 41 minute segment of extras not used in the final doc.

The Long Ryders kicked off their major label debut, State of Our Union, with one of their most anthemic and most explicitly political songs, "Looking for Lewis and Clark," and that tune set the tone for the rest of the album – State of Our Union found the Long Ryders reaching for a larger audience at the same time that they were using their music to say a great deal more than they had in the past. Musically, plenty of roadwork had tightened the band's interplay to an even finer point than on Native Sons (Sid Griffin and Stephen McCarthy were both in superb voice, and their guitar work meshed perfectly), and Will Birch's production gave the songs a poppier sheen that still allowed the band's roots-conscious sound to shine through. Lyrically, State of Our Union took a long look at Reagan-era America as the gulf between the rich and the poor began to divide the nation, with "You Can't Ride the Boxcars Anymore," "Two Kinds of Love," and "Good Times Tomorrow, Hard Times Today" all exploring issues of economic injustice, and even the less obvious political songs often having a progressive subtext ("WDIA," a tribute to the great Memphis R&B radio station, deals with how the love of music brought together black and white listeners in the 1960s).

This is an album by The Murlocs of Melbourne, Australia and the band call this one Old Locomotive. This was released on Flightless because locomotives cannot fly. Or something. Also something: the year of release: 2017.

Not only is The Nightmare Before Christmas one of the best musicals of the past two decades; it may well be Danny Elfman's masterpiece, successfully integrating his main influences (from Cab Calloway to Nino Rota) into a fantastic whole. The first disc of this reissue features the original soundtrack, its songs still teetering between dark humor and poetic flights of fancy; this so-called kids' music is at least as sophisticated and skilled as anything you're likely to hear on Broadway. The second disc includes demo versions of four songs on which Elfman plays and sings everything, and five new covers of some of Nightmare's best-loved songs. Marilyn Manson successfully applies his spooky Weimar-circus style on "This Is Halloween" while Panic! At the Disco's lushly orchestrated take on the same tune is closer to the original. Fiona Apple's poignant "Sally's Song" is enhanced by very nice string charts, and She Wants Revenge does a disco take on "Kidnap the Sandy Claws." Best perhaps is Fall Out Boy's cover of "What's This?" which sounds like an unexpected cross between the Beach Boys and Queen. A highly recommended set.

Musically minimalistic and visually outrageous garage punk revivalists led by the charismatic Karen O.. Collection includes: 'Fever To Tell' (2003); 'Show Your Bones' (2006); 'It's Blitz!' (2009); 'Mosquito' (2013).