Violet District ‎– Terminal Breath (1992) [2 CD Remastered 2000]

From their beginnings as an attempt at bold jazz-rock fusion in 1967 through a run as a high-powered R&B/soul-rock singles act with singer David Clayton-Thomas two years later, Blood, Sweat & Tears were always a kind of fascinating experiment, and a commercially successful one at that. The first album from the Clayton-Thomas-fronted band appeared in 1969, spawned four high chart hits, won a Grammy as Album of the Year, and went on to sell some three million units. The next two albums, Blood, Sweat & Tears 3 and 4, generated a few more hits, but the band was gradually running out of creative steam by this point, and when Clayton-Thomas left the group after the fourth album, well, that was the end of the line commercially for Blood, Sweat & Tears. A jazzier, but definitely not as commercial, version of Blood, Sweat & Tears showed up for two of the albums collected in this set, 1972's New Blood and 1973's No Sweat, with the third album here, 1976's More Than Ever, featuring the return of David Clayton-Thomas to the fold.

One of the most enigmatic figures in rock history, Scott Walker was known as Scotty Engel when he cut obscure flop records in the late '50s and early '60s in the teen idol vein. He then hooked up with John Maus and Gary Leeds to form the Walker Brothers. They weren't named Walker, they weren't brothers, and they weren't English, but they nevertheless became a part of the British Invasion after moving to the U.K. in 1965. They enjoyed a couple of years of massive success there (and a couple of hits in the U.S.) in a Righteous Brothers vein. As their full-throated lead singer and principal songwriter, Walker was the dominant artistic force in the group, who split in 1967. While remaining virtually unknown in his homeland, Walker launched a hugely successful solo career in Britain with a unique blend of orchestrated, almost MOR arrangements with idiosyncratic and morose lyrics. At the height of psychedelia, Walker openly looked to crooners like Sinatra, Jack Jones, and Tony Bennett for inspiration, and to Jacques Brel for much of his material. None of those balladeers, however, would have sung about the oddball subjects – prostitutes, transvestites, suicidal brooders, plagues, and Joseph Stalin – that populated Walker's songs.

Because they work in a field that isn't usually taken seriously, the Pet Shop Boys are often ignored in the rock world. But make no mistake - they are one of the most talented pop outfits working today, witty and melodic with a fine sense of flair. Very is one of their very best records, expertly weaving between the tongue-in-cheek humor of "I Wouldn't Normally Do This Kind of Thing," the quietly shocking "Can You Forgive Her?," and the bizarrely moving cover of the Village People's "Go West." Alternately happy and melancholy, Very is the Pet Shop Boys at their finest.

Porcupine Tree were an English progressive rock band formed by musician Steven Wilson in 1987. The band began essentially as a solo project for Wilson, who created all of the band's music. By late 1993, however, he wanted to work in a band environment, bringing on frequent collaborators Richard Barbieri as keyboardist, Colin Edwin as bassist, and Chris Maitland as drummer to form the first permanent lineup…

Very rivals Behaviour as Pet Shop Boys' best album, so it's appropriate that the "further listening" bonus disc on Very's installment in the 2001 expanded-edition series rivals the further listening disc for Behaviour, and perhaps even surpasses it. Like that disc, this collection doesn't rely on remixes for bonus tracks and those that do make it are quite good (a previously unreleased 12" mix of "Go West" and the hacienda version of "Violence"). The rest of the record consists of B-sides and non-LP singles (including "Absolutely Fabulous"), none of which have been collected on a disc before since they all date from an era that the double-disc set Alternative didn't cover. The great thing about this is that nearly all of the material could have fit comfortably on Very and it plays as a very infectious, absorbing listen on its own.

Johnny Kidd had no album release during during his band's existence (but almost did), and then one solitary UK compilation in the dozen years following his death. Yet he and his groups were not entirely forgotten. In fact after the 1976 tribute events, and after re-formed Pirates blew away most of the live competition that same year, interest in their late leader continued to gain pace. Johnny Kidd is now rightly recognised as a pioneer of British Rock, a true original. His standing seems reflected in the increase of rate of LP, then CD releases. The peak was the "Complete" collection in 1992 which rounded up all known recordings that were available, many mastered for the first time plus a few new stereo remixes into the bargain.

The history of this album is as follows: In the mid-'80s, Enya recorded the soundtrack for a BBC television documentary called The Celts. The music was released on BBC Records in the U.K. in December 1986 under the title Enya. It was released initially in the U.S. on Atlantic Records in 1986. In November 1992, WEA Records in the U.K. issued a revised version of the album under the title The Celts, containing a newly rerecorded track, "Portrait (Out Of The Blue)."