Album

Bleakly beautiful drone-grooves from singer-songwriter tipped for greatness

First in series of reissued twofers from Nashville country giant

Entertaining trawl of WEA's rap vaults

Stevens launched Deram, Decca's off-shoot progressive label, in 1966 with "I Love My Dog", followed by further hits "Matthew & Son" and "I'm Gonna Get Me A Gun"—ingenious, idiosyncratic, albeit lightweight pop. Like label-mate Bowie, Stevens was clearly an unorthodox talent. Typically, the singles and B-sides then bolstered Stevens' debut album, an impressive, diverse collection despite Mike Hurst's archaic production and fussy arrangements. By New Masters, Hurst was deploying an even heavier trowel.

Respect, of course, to Grohl and co for the consistency of their earnest and industrious take on rock, presented with typical reliability throughout these selections from their 2002/2003 world tour. But three hours of electric, acoustic and—oh dear!—audio-only music is enough to bore the denims off all but the most besotted worshippers.

Second album of curious psych/hip hop follows eponymous 2001 debut

Previously only on import, this now gets a British release, because 80 per cent of the UK proletariat like singing along to: "And the dreams in which I'm dying are the best I've ever had." Especially during festive periods. And fair play to them, eh readers? Apparently reprints of Camus and Kafka are now outselling beer, and Lou Reed's "Berlin" is widely tipped for next year's Christmas No 1. A mad world, and no mistake. Michael Andrews' soundtrack is chiefly instrumental, dark and wilfully weird.

Debut from London quartet named after an Arlo Guthrie creation, not an Alec Guinness character. Sorry

'80s pop acts, from the winsome to the tonsorially challenged

SACD reissues of '80s electro monoliths