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).

On CD for the first time, this album has been digitally re-mastered and includes bonus tracks and previously unreleased material 'Chevy Baby', 'Barracuda Waver', Surfers Are Back', 'Rendevous', 'The K.G.B. (Made A Man Out Of Me)', 'Ballad Of A Liar', Gotta Get A Gun', Grammar Of Misery', 'I Can't Sleep', 'On A Sunday', 'Shades Of Today' & Summer Fun' (Alternate Version). Also includes original artwork plus booklet featuring extensive sleeve notes from the band and rare memorabilia. Drop Out with The Barracudas is the debut studio album by English rock band The Barracudas, released in 1980 by record label Zonophone.

Collection includes all studio albums by American rock duo: The White Stripes (1999); De Stijl (2000); White Blood Cells (2001); Elephant (2003); Get Behind Me Satan (2005); Icky Thump (2007).

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.