The last great Kraftwerk album, Computer World (Computerwelt) captured the band right at the moment when its pioneering approach fully broke through in popular music, thanks to the rise of synth pop, hip-hop, and electro. As Arthur Baker sampled "Trans-Europe Express" for "Planet Rock" and disciples like Depeche Mode, OMD, and Gary Numan scored major hits, Computer World demonstrated that the old masters still had some last tricks up their collective sleeves. Compared to earlier albums, it fell readily in line with The Man-Machine, eschewing side-long efforts but with even more of an emphasis on shorter tracks mixed with longer but not epic compositions.

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.

One of the band's masterworks, Juju sees Siouxsie and the Banshees operating in a squalid wall of sound dominated by tribal drums, swirling and piercing guitars, and Siouxsie Sioux's fractured art-attack vocals. If not for John McGeoch's marvelous high-pitched guitars, here as reminiscent of Joy Division as his own work in Magazine, the album would rank as the band's most gothic release. Siouxsie and company took things to an entirely new level of darkness on Juju, with the singer taking delight in sinister wordplay on the disturbing "Head Cut," creeping out listeners in the somewhat tongue-in-cheek "Halloween," and inspiring her bandmates to push their rhythmic witches brew to poisonous levels of toxicity.

The only real problem with One Way Records' anthology on Katrina & the Waves is that it gives too much room to their first Capitol album (which ought to be out as a free-standing CD) and not enough to their later material. Anyone seeking to go further should track down this imported disc. Thanks to EMI's acquisition of the SBK label, for which the band recorded in 1989, and its merger with Virgin Records, for which the Waves recorded in the early '90s in Germany, this collection has a little range and depth, although it's still just a greatest-hits collection – if it were a best-of, it would also have to include some of their Attic Records sides from before their signing to Capitol. In addition to the eight songs off of the first Capitol album, there are four more off of Waves, including "Lovely Lindsey" (the one glaring gap in the One Way release).

Billy Idol’s second studio album, 1983’s Rebel Yell, is being reissued for its 40th Anniversary. The album features the singles ‘Eyes Without a Face’, ‘Flesh for Fantasy’, ‘Catch My Fall’ and ‘Rebel Yell’. There are two physical editions of this reissue, a 2CD set and a 2LP vinyl version. The former features 13 bonus tracks, including five that were on the 1999 expanded CD. The extra tracks include the rather good ‘Poolside Remix’ of Eyes Without A Face (a new remix was issued as a digital single in early 2021), the previously unreleased ‘Best Way Out of Here’ and a cover of ‘Love Don’t Live Hear Anymore’ (from the original sessions). Of the latter, Billy said “We found out Madonna was doing a version on her Like A Virgin album and we had a full compliment songs so we thought we’d leave it off the album”.

For all intents and purposes, Frank Tovey was best known as the man behind Fad Gadget, one of the most significant cult acts of the post-punk boom. As Fad Gadget, Tovey and his revolving door of conspirators released several singles and four full-length albums that stretched the boundaries of pop music during the late '70s and early '80s. And after Tovey started making records under his own name in the mid-'80s, he continued to remain as unpredictable as ever, working within the realms of Cajun, blues, and folk, in addition to furthering his journey into experimental electronics.
Frank Tovey's best and most cohesive album, including his work with Fad Gadget, and his last electronic album before making a hard left turn into protest-folk…

Three CD set. NOW Music is proud to present 58 more essential singles from the incredible year in Pop that was 1990, 'NOW - Yearbook Extra 1990'. Opening with a defining anthem 'Freedom! '90' from George Michael, Disc One features a blend of Pop gems and soulful ballads. Includes tracks by The B-52's, Duran Duran, Belinda Carlisle, Jane Child, Deacon Blue, Tears For Fears, Robert Palmer feat. UB40, Roxette, Eurythmics, Oleta Adams, Tina Turner, Gloria Estefan, Paul Young, Elton John, David A. Stewart and Candy Dulfer, Aztec Camera, The Cure, The Farm, The Soup Dragons, The Beloved, Primal Scream, Soul II Soul, Snap!, LL Cool J, MC Hammer, Poison, Billy Idol, Cher, the Pretenders, Jason Donovan, Craig McLachlan, Bros, New Kids On The Block, Paula Abdul, Technotronic, Big Fun, and many others.