Once Upon a Prime The Wondrous Connections Abk

Siouxsie Sioux has always maintained that it was not her intention to create the goth rock movement. While that lofty statement may be a little self-serving, it's partly right. The Banshees' post-1982 singles (documented in entirety on Twice Upon a Time) have a lush and expansive sound that directly influenced the goth sound. From the opening of "Fireworks" it is immediately apparent that Siouxsie and the Banshees were growing up. By the time of "Peek-a-Boo," the band had learned how to incorporate its early dissonance with its majestic, late-'80s sound. The Twice Upon a Time collection is one great step after another, with the only drawback being a poor remix of 1991's "Fear of the Unknown." A solid introduction for the unknowing.

Ennio Morricone’s work on The Hateful Eight aside, most of Quentin Tarantino’s movies famously don’t have much in the way of traditional scores. The songs that have played a starring role in so many of his iconic scenes aren’t original compositions—they’re vintage gems, often dug up from the crates by the director himself. The music from Once Upon a Time in Hollywood, captured on this soundtrack, is a prime example. Like the film itself, the songs—from José Feliciano’s cover of “California Dreamin’” to Vanilla Fudge’s take on “You Keep Me Hangin’ On”—are a time capsule of late-’60s Los Angeles, tracks Tarantino himself heard on the radio growing up in the city’s South Bay region (although there are, as usual for the director, lots of deeper cuts, like The Box Tops’ “Choo Choo Train”).

A 3-CD, four-hour celebration of the post-Brumbeat late ‘60s/early ‘70s rock scene in the West Midlands. Tracing the evolution and development of that scene as local musicians embarked on an epic journey that embraced mod pop, psychedelia, blues, progressive rock, glam-rock and heavy metal, inspired by the emergence of chief catalysts The Move.