The Flying Klassenfeind The Flying Klassenfeind EP {1982, CD Reissue 2001}

Haircut 100's debut album, Pelican West is a widely uneven concoction of lite funk and jazzy new wave pop. Although the group's music was frequently so light it virtually disappeared, they did record a pair of classic new wave singles with the effervescent "Love Plus One" and "Favourite Shirts (Boy Meets Girl)." Although much of the record lacks the hooks of those two tracks, there's a handful of enjoyably breezy pop songs on Pelican West, such as "Fantastic Day" and "Snow Girl," that makes it worth investigating for new wave fetishists. Still, there's no denying that Haircut 100's material was often inadequate – a situation only emphasized on the American edition of the album, which places the singles at the front – and that the record sounded like a period piece just a few years after its release. [This edition features three B-sides and two 12" mixes as bonus tracks.]

Gram Parsons' legend is so great that it's easy for the neophyte to be skeptical about his music, wondering if it really is deserving of such effusive praise. Simply put, it is, and if you question the veracity of that statement, turn to Rhino's peerless double-disc set, Sacred Hearts and Fallen Angels: The Gram Parsons Anthology. This is the first truly comprehensive overview of Parsons' work, running from the International Submarine Band, through the Byrds, to the Flying Burrito Brothers and his two solo albums, scattering appropriate rarities or non-LP tracks along the way…

Out of several live Hendrix albums, The Jimi Hendrix Concerts stands as one of the very best. Taken from shows at Winterland, The Royal Albert Hall, and from various venues in New York, Berkeley, and San Diego, the set includes hits like "Fire," "Voodoo Chile," and "Hey Joe," as well as fine blues like "Red House," "Bleeding Heart," and "Hear My Train a Comin'." Highlights include a definitive version of "Little Wing" and one of the most assured and driving versions of "Voodoo Chile" (these and four other stellar tracks come from what must have been an amazing concert at Winterland in the fall of '68). Another standout is "I Don't Live Today," which features a fine mix of jazz-inspired soloing and various feedback and distortion "tricks" (tricks that figure into Hendrix's way of "playing with the electronics," and which make up one of the more innovative aspects of his guitar playing). Hendrix gets adept and sympathetic support throughout from bassist Noel Redding and drummer Mitch Mitchell (Band of Gypsies' bassist Billy Cox replaces Redding on "Red House" and "Hey Joe").

The Sons of Champlin is an American rock band, formed in the late 1960s and from Marin County in the San Francisco-Bay area. They are fronted by vocalist/keyboardist/guitarist Bill Champlin, who was also a member of the rock band Chicago. They brought to the late 60's music scene in the Bay Area a soulful sound built around a horn section, sophisticated arrangements, philosophical themes, Bill Champlin's songwriting and blue-eyed soul singing, and Terry Haggerty's jazz-based guitar. They are one of the 1960s San Francisco bands, along with Jefferson Airplane, The Grateful Dead and Moby Grape…

ABC's debut album combined the talents of the Sheffield, U.K.-based band, particularly lead singer Martin Fry, a fashion plate of a frontman with a Bryan Ferry fixation, and the inventive production style of former Buggles member Trevor Horn and his team of musicians, several of whom would go on to form the Art of Noise. Horn created dense tracks that merged synthesizer sounds, prominent beats, and swaths of strings and horns, their orchestrations courtesy of Anne Dudley, who would follow her work with the Art of Noise by becoming a prominent film composer, and who here underscored Fry's stylized romantic lyrics and dramatic, if affected, singing. The production style was dense and noisy, but frequently beautiful, and the group's emotional songs gave it a depth and coherence later Horn works, such as those of Yes ("Owner of a Lonely Heart") and Frankie Goes to Hollywood, would lack. (You can hear Horn trying out the latter band's style in "Date Stamp.") Fry and company used the sound to create moving dancefloor epics like "Many Happy Returns," which, like most of the album's tracks, deserved to be a hit single.

The two LP editions recorded at this Paris concert were the last examples of Bill Evans' playing to be released at the time. With bassist Marc Johnson and drummer Joe La Barbera, Evans had one of the strongest trios of his career, as can be heard on such pieces as Edition One's "My Romance," "I Loves You, Porgy," and "Beautiful Love." The close communication between the players is reminiscent of Evans' 1961 unit with Scott LaFaro and Paul Motian.

The title of the Meters' final album is hopeful, and New Directions does indeed represent if not a new direction, at least a shift from the disco dead end of Trick Bag. From the second "No More Okey Doke" kicks off the record, it's clear that the Meters are gritty again, kicking out some really funky grooves – maybe not as dirty as their Josie recordings, maybe a little cleaned up, but still pretty funky. The slower numbers betray their era, but in a pleasing way, something that's also true of generic numbers like "My Name Up in Lights," which may have too much talk-box guitar, but still grooves effectively. That may not be a new direction, per se, but it is a welcome change-up after the dud Trick Bag. It wasn't enough to save the Meters and it's not really a lost treasure, but it's a far more dignified way to bow out.