Best of Ace is a smartly assembled, fourteen-track collection which draws from each of the band's albums. Ace is best remembered for the ultra-slick "How Long," but little of the collection bears resemblance to that hit. Instead, they're shown doing what they did best (and more often) – playing laidback, rootsy pub-rock.

After nearly sixteen years since its last entry, the longest-running mix tape in existence, The Desert Sessions will return this October with two stunning new volumes in its already storied catalog, Desert Sessions Vol 11: Arrivederci Despair and Vol 12: Tightwads & Nitwits & Critics & Heels featuring collaborations from Billy Gibbons (ZZ Top), Les Claypool (Primus), Stella Mozgawa (Warpaint), Jake Shears (Scissor Sisters), Mike Kerr (Royal Blood), Carla Azar (Autolux, Jack White), Matt Sweeney, comedian Matt Berry (What We Do in the Shadows), Töôrnst Hülpft and new comer Libby Grace.

On their singles and EPs, the Horrors proved they'd done their post-punk and freakbeat homework. With their debut album, Strange House, they push their sound forward, distill it to its rawest essence, and give it a few funhouse mirror twists and turns for good measure. Almost half of the songs on the album already appeared on previous Horrors releases, but the ever-so-slightly cleaner production here gives more definition to their black-on-black sound. The band kicks off Strange House by revisiting their cover of Screaming Lord Sutch's "Jack the Ripper," which begins at a zombie-slow pace, then suddenly speeds up halfway through, transforming into a hurtling roller coaster of a song that makes a great introduction to Strange House's mix of campy humor, energy, and menace. With its dive-bombing noise barely held together by Faris Badwan's shouting and the faintest hint of a melody, "Sheena Is a Parasite" is still the Horrors' best and most radical song, although several other tracks here rival its black-hearted thrills.

The punk rock treat that tricked its way into the heart of punk rock fans everywhere in 2019 returns with a brand new volume of Halloween-themed songs recorded by modern and legacy bands!
Features brand new studio recordings by legendary punk bands such as The Vandals, Down By Law, The Casualties, Reagan Youth, The Members, The Vibrators, MDC, Tsunami Bomb, The Queers and lots more!

Teenage Depression is the debut studio album by English rock band Eddie and the Hot Rods. It reached number 43 on the UK Albums Chart. The album's title track reached number 35 on the UK Singles Chart and was featured in the 1979 film Rock 'n' Roll High School. Teenage Depression has been cited as a "missing link" between pub rock and punk rock, owing to its fast and hard-hitting R&B sound showing the attitude of a punk band. In 2000, a reissue was released with 12 additional tracks.

Rising from the ashes of pub rock band Ducks Deluxe, the Motors began life as Status Quo lite, a boogie band with better ideas and hooks than other bands in the same mold. Led by talented singer/songwriters Nick Garvey and Andy McMaster, the Motors' 1977 self-titled debut sounded better on paper than it did on the home stereo. Scoring a semihit with the single "Dancing the Night Away" was a surprise to all, but certainly gave Virgin enough confidence to back a second album. When Approved by the Motors hit the shelves in 1978, the band had become one of the finest pop/rock bands in the U.K., refining their sound (the boogie was nowhere to be found) and writing songs filled with great melodies. Garvey and McMaster's harmonies had become as unique as fellow popsters Difford & Tilbrook's, although the Motors sound was far more gritty than the duo from Squeeze. Even lead guitarist Bram Tchaikovsky and drummer Ricky Slaughter seemed to have an expanded role in the sound of the band. Standout tracks like "Forget About You," "Sensation," "Soul Redeemer," and the beautiful "Today" were the heart and soul of this fabulous sophomore release, and the album even garnered them a bonafide hit with "Airport".

Not long after the 1994 release of Plugged In, Dave Edmunds chose to tune out, slowly winding his way back to his native Wales, where he essentially acted as a hermit. Occasionally, he'd show up on-stage – or on Jools Holland's Later – but his active career essentially ceased, punctuated by the live album A Pile of Rock (a title often recycled in his career) documenting a one-off European show from 1997, plus a 2000-era largely instrumental album called Musical Fantasies. With this in mind, the release of …Again in 2013 is big news: it appears to be his first new album in nearly two decades. This isn't the case. …Again is a curious thing, a 15-track collection that contains no less than nine of the 11 songs on 1994's Plugged In, along with "Return to Sender," his contribution to the Otis Blackwell tribute Brace Yourself (released in 1994, but recorded in 1991), plus five new songs. It's not quite enough to be considered a full-fledged comeback but it's slightly more than tossed-off bonus tracks, too, as these new contributions spin the Plugged In material in a slightly different direction.

Six years after the commencement of a major Elvis Costello reissue campaign at Rhino, his catalog transferred over to Universal, which had been releasing new Elvis music since 1998's Painted from Memory. Like every one of his previous two big catalog shifts – a campaign with Rykodisc/Demon in 1994, a jump to Rhino in 2001 – the 2007 series is preceded by a new hits collection, this time The Best of Elvis Costello: The First 10 Years, a 22-track collection of highlights that's pretty much exactly what it says it is. It is quite similar to the last previous single-disc collection, the 1994 Ryko/Demon set The Very Best of Elvis Costello and the Attractions, which also ran 22 tracks, 19 of which also appear on The First 10 Years. The three omissions – "Watch Your Step," "New Amsterdam," and "Love Field" – will not be missed by anybody looking for a new Costello comp in 2007, particularly because all three substitutions are better choices for the casual man: "New Lace Sleeves," "Almost Blue," and "(The Angels Wanna Wear My) Red Shoes," which bizarrely wasn't on the 1994 set. With these three songs rubbing shoulders with "Alison," "Watching the Detectives," "Pump It Up," "Oliver's Army," "(What's So Funny 'Bout) Peace, Love & Understanding," and all the other usual suspects, The Best of Elvis Costello: The First 10 Years winds up being the best single-disc summary and introduction to Costello's prime years.

The Sisters of Mercy are an English rock band, formed in 1980 in Leeds. After achieving early underground fame there, the band had their commercial breakthrough in the mid-1980s and sustained it until the early 1990s, when they stopped releasing new recorded output in protest against their record company WEA. Currently, the band are a touring outfit only. The group has released three original studio albums, the last of which was released in 1990. Each album was recorded by a different line-up; singer-songwriter Andrew Eldritch and the drum machine called Doktor Avalanche are the only points of continuity throughout. Eldritch and Avalanche were also involved in The Sisterhood, a side-project connected with Eldritch's dispute with former members.

After five years away from the recording studio, the Legendary Shack Shakers don't sound as frantic as they did back in the days of Cockadoodledon't, but their commitment to bad craziness below the Mason-Dixon line is as strong as ever, so the title The Southern Surreal is more than fitting. Instead of going for the breakneck psychobilly of their formative days, in 2015 the Shack Shakers continue to explore the swampy sound that dominated 2007's Swampblood as they ponder the more forbidding side of life in the deep South. Bassist Mark Robertson and drummer Brett Whitacre lay out a deep, implacable rhythm as guitarist Rod Hamdallah spreads echo-drenched guitar figures over it all and Col. J.D. Wilkes howls and moans his tales of booze, bad living, the walking dead, and other unhealthy phenomena of life along the riverbank (and occasionally tosses in some high-powered harmonica work). The band also brings along a few high-powered guests (including former Jesus Lizard guitarist Duane Denison and sax player Ralph Carney, best known for his work with Tom Waits), and Billy Bob Thornton steps up to the vocal mike for a brilliantly creepy spoken word piece.

Despite its rather cheeky title, Greatest Hits 1977-1990 is a good place to sample the entire Stranglers output. From the squalor of the late-'70s material, to the smoothed-out gloom pop of songs like "Skin Deep" and other mid- to late-'80s neo-goth rock, this is a solid anthology that values substance over style and exhaustive track selection. For sure, a well-edited Stranglers anthology is the only way to enjoy them; they recorded way too much dross to spend time searching out all of their plentiful, marginal records.

Guitarist/singer/songwriter Chris Spedding has been a mainstay of the British session scene since the late '60s, playing with just about everyone from Nucleus, Jack Bruce, John Cale, Elton John, Iggy Pop, Mike Bratt to Paul McCartney, The Bay City Rollers and recently on Katie Mehlua's album. This collection from his most successful period on Harvest and RAK (1969-81), features all the singles, including his big hit 'Motorbikin', and the best of the B-sides and album tracks taken from his 6 classic EMI studio albums: Backwood Progression, The Only Lick I Know, Chris Spedding, Hurt, Guitar Graffiti & I'm Not Like Everybody Else. Chris himself has helped compile the tracklist, and assisted with the artwork, writing notes for the booklet.

The Electric Cows were among a plethora of 1960s beat bands in Western Canada that never got their 15 minutes of fame, whether due to poor management decisions, lack of musical talent, or simply never having their number drawn in the era's rock'n'roll lottery. More popular Winnipeg acts like The Guess Who, The Quid, Crescendos, and Buddy Knox took the limelight but whatever the Cows lacked in popularity, professionalism, and actual talent they made up for with gumption, grit, horse sense, and occasional bursts of raw garage band energy.

At this writing there are about a dozen "best-of" collections on the market of Iggy Pop's major-label work, and until someone compiles one more comprehensive than 2005's A Million in Prizes: The Anthology, there is no need to release another. Does everyone understand this? While there are already a bunch of dodgy collections of Iggy's music out there, 20th Century Masters – The Millennium Collection has the very serious drawback of having been drawn primarily from Pop's recordings for A&M Records.

Picking our list of the Top 100 '70s Rock Albums was no easy task, if only because that period boasted such sheer diversity. The decade saw rock branch into a series of intriguing new subgenres, beginning, at the dawn of the '70s, with heavy metal. Singer-songwriters came into their own; country-rock flourished. The era ended with the revitalizing energy of punk and New Wave. No list would be complete without climbing onto every one of those limbs. Here are the Top 100 '70s Rock Albums, presented chronologically from the start of the decade.