David Bowie - Legendary Lost Tapes

The Legendary Lost Tapes (1972–1973) is a celebrated 1998 unofficial bootleg capturing David Bowie at the absolute zenith of his Ziggy Stardust era. This release is highly prized by collectors for its rare, behind-the-scenes glimpse into Bowie's creative peak, split between intimate studio recordings and raw live energy. It serves as a vital historical document of a time when Bowie was actively redefining the boundaries of rock music and visual style.

The album's first half features invaluable May 1972 Trident Studio sessions, highlighted by Bowie's original guide vocal track for Mott the Hoople's "All the Young Dudes" and collaborations with Lou Reed. The second half shifts to a gritty, audience-recorded January 1973 concert at Green’s Playhouse in Glasgow. While the live audio is strictly bootleg quality, the compilation remains an essential artifact for completists, capturing the fierce, unvarnished spirit of the Spiders from Mars.

David Bowie - ChangesTwoBowie

Changestwobowie, released in November 1981, is the official companion and sequel to David Bowie’s highly successful 1976 greatest hits collection, Changesonebowie. Instead of a straightforward chronological progression, this compilation acts as a curated bridge across Bowie's most chameleonic decade. It blends essential early-1970s tracks that missed the first volume, such as "Starman" and "Oh! You Pretty Things," with his groundbreaking late-1970s experimental work. This includes landmark tracks from his Berlin Trilogy and the art-pop masterpiece Scary Monsters (and Super Creeps), creating a diverse sonic portrait of an artist in constant mutation.

The album's tracklist highlights Bowie's incredible stylistic range, moving effortlessly from the avant-garde jazz-piano of "Aladdin Sane" to the jagged, danceable funk of "Fashion" and "D.J." It also features unique standouts like the sweeping, dramatic ballad "Wild Is the Wind" and the funk-infused "John, I'm Only Dancing (Again)." While it initially went out of print in the late 1980s, Parlophone officially remastered and reissued the album on vinyl and CD in 2018. Ultimately, Changestwobowie serves as a vital historical document that captures the dizzying scope and chaotic brilliance of Bowie's most innovative era.

David Bowie - ChangesOneBowie

ChangesOneBowie, released by RCA Records in May 1976, stands as the first official greatest hits compilation documenting David Bowie’s most chameleonic era. Capturing his rapid sonic evolution between 1969 and 1976, the 11-track collection seamlessly charts his trajectory from cosmic folk and theatrical glam rock into the smooth "plastic soul" of the mid-70s. By gathering career-defining singles like "Space Oddity," "Changes," and "Fame" onto a single disc, the album served as both a commercial powerhouse and the definitive introduction to his shapeshifting artistry.

The compilation achieved massive commercial success, peaking at number two on the UK albums chart and number ten on the US Billboard 200, cementing Bowie’s newfound status as a global superstar. Beyond its chart performance, ChangesOneBowie became a legendary artifact among music collectors due to a rare first-pressing error in the UK that accidentally included an unreleased saxophone version of "John, I'm Only Dancing." Celebrated for its iconic, stark black-and-white cover art and flawless track sequencing, this landmark release permanently codified Bowie's golden era and set the standard for rock retrospective albums.

Danielle Dax - Dark Adapted Eye

On the evidence of Dark Adapted Eye, Danielle had really hit her stride and achieved a versatile, bubbly kind of fusion pop with Inky Bloaters; the third solo work which comprises most of this US compilation and has become her de facto hallmark collection. As a performer and recording artist Dax came from the punk-infused, experimental UK underground of the late '70s, and her previous band, Lemon Kittens, threads into that web of groups sprouting in this period; Throbbing Gristle, Nurse With Wound, Coil and their various cross-pollinating sub-units. The track-listing of Dark Adapted Eye nods to these roots with only a handful of earlier solo tracks bookending the scrambled Inky Bloaters running order, with some single mixes. Not the most comprehensive overview of a unique musical trajectory then, but rather an exportable capsule that focuses on a near-perfected sound, perhaps emphasising superficial parallels to Siouxsie and Kate Bush (although Dax is as much a kindred spirit of Lizzy Mercier Descloux in her playful use of abnormal instrumentation).

While her albums had largely been experimental affairs, by 1987 Danielle Dax began making more accessible music - not necessarily commercial, but certainly records that really SHOULD have cracked the mainstream. Following her excellent 'Inky Bloaters' album, which again scored hot reviews from the music press (yet commercial stations like Radio 1, which could really make or break a record in terms of commercial success, continued to shun her apart from the odd late-night airings by more open-minded DJs) and another of her concerts being televised (this time in Japan), she unexpectedly signed to major record label, Sire, in 1988, after years of recording independently. The subject of this review, 'Dark Adapted Eye', was a compilation released to help break her through in America. Although not gaining widespread commercial recognition, she again amassed a cult following in the States through this release. In effect, it contains every track featured on her third solo album 'Inky Bloaters' (1987) bar 'Born To Be Bad' and a selection of offerings from her earlier experimental solo work.

Kicking off proceedings with a bang is her stomping underground club hit from 1988, 'Cathouse'. Set to a blistering, urgent beat, the track has psychedelic flourishes throughout, while the risqué lyrics are riddled with sexual innuendo: "I'm gonna polish up your chrome and shine your treasure." Whatever could she mean??? Known for her wide vocal range, Dax sings in her medium range, her sexually-charged voice pouring with conviction and attitude. While 'Cathouse' became a huge underground hit and flew high on the independent charts (the UK Indie Singles Chart being one of them, where it embraced the top ten), it failed to crossover to the mainstream, possibly due to the commercial radio station's reluctance to play it because of its blatant sexual nature. Even so, it's still fondly remembered by those that were aware of it and is now something of a forgotten (and sadly overlooked) classic.

'Big Hollow Man' was another international underground club hit, yet got nowhere near the UK top forty. Packing a big punch like its predecessor, the lyrics may have been seen as less than conventional at the time by commercial radio, centred around organised religion and all its hypocrisies. Yet the arrangement is smacked with commercial potential, bearing such immediacy and carrying another sizzling beat. Dax fluctuates her vocals accordingly, beginning in high pitch that sounds a little like Cyndi Lauper, to her lower range where her vocals sound menacing, sarcastic and cynical. Such a pity this song wasn't a mainstream hit as it most certainly deserved to be.

The hard-hitting 'White Knuckle Ride' contains a thrashing indie-rock arrangement, and is a song based on the horrific Charles Manson murders. Released as a single in the UK, it swiftly topped the Indie Singles Chart yet got nowhere near the pop chart. She was far from a conventional recording artist and perhaps this was a factor in why songs like 'White Knuckle Ride' didn't crack the mainstream. Bizarrely, Sire Records' gimmicky promotional adverts hailed her as the British version of Madonna (Madonna was also signed to Sire) which was really an inaccurate description to say the least.

Things slow down on the more intricate ballad 'When I Was Young', bearing an acoustic-led arrangement and Dax showing her more sensitive side in a song about the simple pleasures of childhood. 'Yummer Yummer Man' was her first solo single, released back in 1985, which had been featured on 'Inky Bloaters' and boasts a quirky arrangement to say the least, entwining elements of punk, rock and indie rolled into one. 'Fizzing Human Bomb' hosts a gothic-like arrangement, with an impressive bongo solo and echoes of Arabic sounds dropped neatly into the mix, while the lyrics depict a woman's sexual repression!

'Whistling For His Love' is easily the most pop-flavoured and radio-friendly numbers in her entire catalogue. With a more universal theme, the track is sharp and punchy while Dax sounds at her most accessible vocally, proving she definitely had a knack for making good, credible pop music although it was a path she didn't want to venture down too much. This song was for the masses and if there was a case for her being the British equivalent of Madonna, this was most definitely it.

'Flashback' holds a sparse, yet nifty arrangement which packs a good punch and Dax singing in her lower range, while there is a neat injection of twangy country music set to a disco beat creeping in on 'Inky Bloaters', which is also the case with her sneering ode to Margaret Thatcher on 'Bad Miss M' (who, at the time of Dax recording, was the UK's Prime Minister). The lyrics could be described as controversial, depending on your view, with lines such as : We'll all have a party when you are gone/Spit on your grave and sing a song. These songs certainly show what an eclectic flair she has.

'Brimstone In A Barren Land' speaks of the devastating effects of post-nuclear war, which is wrapped in a trippy yet slick arrangement which lands somewhere between soul and indie and holds many ethereal sound effects weaving sporadically in and out of the mix. A slithery beat is highlighted by some stunning guitar work. 'Touch Piggy's Eyes' makes a good dance song, some wonderful harmonica interludes featured on the chorus, while 'House Cat' is an off-beat house music instrumental, which once again plays host to Middle Eastern sounds.

At this point the compilation delves further back into her earlier experimental work: 'Bed Caves', from her critically-lauded solo debut 'Pop Eyes', begins with four pulses before bursting into urgent, tribal-pounding drums. A fuzzy guitar kicks in, and across the layered arrangement which also includes a rumbling keyboard, she sings in a high soprano in the style of an Indian pop star. The same words are repeated over again: Today is not the same as before/Starting with a clean slate/Promises of a new reward, punctuated by a tinkling xylophone. Utterly beguiling and though these lyrics sound full of optimism, there is just something under the surface that makes you think that all is not as it seems. There's a sinister air that lingers throughout the track and Dax sounds gleeful yet at the same time cynical and detached.

'Sleep Has No Property' sounds like it could have easily been from her second album 'Jesus Egg That Wept', as it was recorded around the time of its release, but had been added to her 'Inky Bloaters' album. A song about insomnia; tinkling electronics coat the adventurous arrangement which carries more Middle Eastern sounds. The swampy tribal stomp is from Hammerheads, an earlier track lifted from 'Jesus Egg That Wept', and is industrial music at its best; it was this song that she performed on Channel 4's 'The Tube' back in 1984.

'Pariah' is simply outstanding and one of her very, very best recordings. Another recording from 'Jesus Egg That Wept', 'Pariah' opens with a tidal wave of electric keyboards and captures a compelling vocal performance, which sways from high and soprano-like to a low, almost menacing sound. Depicting a disturbing tale of female immigrants used as prostitutes and slaves; lots of flutes and electronic sounds swirl around Dax's sombre vocal (well, given the subject matter, you could hardly expect it to be anything else). Dax truly gets to show what an incredible vocal range she has and here it's at its most mesmerising.

Winding things down are 'Where The Flies Are', which captures a startling and compelling fusion of Indian sounds mixed with a pop flavour, and the dark 'Funtime' is rich in percussion and sounds like its set in a desert - a song that wouldn't have sounded out of place on the Quentin Tarintino flick 'From Dusk Till Dawn'. Bold, atmospheric and inventive, this is makes a perfect ending to this well-rounded compilation.

Danielle Dax - Timber Tongue 12''EP

Timber Tongue (1995) is a four-track experimental EP by avant-garde artist Danielle Dax, marking her final major musical release before entering a 27-year hiatus. Issued on her own Biter of Thorpe label as a clear 12" vinyl, the record eschews her late-80s alternative pop sound to return to uncompromising, self-produced industrial terrain. Collaborating with multi-instrumentalist David Knight, Dax weaves tribal rhythms, mechanized loops, and surreal found sounds—like toys and chanter pipes—into hypnotic, dark electronic soundscapes. Visually complete with her own "Urban Pantheist" cover art, the EP remains a highly collectable, rhythmically dense artifact that brilliantly showcases Dax’s enduring radical creativity.

Danielle Dax - Tomorrow Never Knows 12''

The 1990 US 12-inch 5-track single for Danielle Dax's alternative cover of The Beatles' "Tomorrow Never Knows" (Sire/Warner Bros.) is a premier artifact of her major-label era that bridges psychedelic rock history with late-era Madchester dancefloor culture. This specific promotional release expands heavily on the standard European versions by compiling four distinct variations of the title track—the Single Version, Album Version, KSDS Mix, and Lunar Mix—delivering everything from radio-friendly synth-pop to deep, trippy club loops. The package is rounded out on the B-side by "King Crack", a short, avant-garde art-pop cut from her Blast the Human Flower album, making this gold-stamped maxi-single a highly sought-after time capsule for alternative DJs and synth-pop vinyl collectors alike.

Danielle Dax - Jesus Egg That Wept

Jesus Egg That Wept is the second solo studio album by English avant-garde musician Danielle Dax, released in 1984 on Awesome Records. Taking its bizarre title from a sensational supermarket tabloid headline, the seven-track mini-album positions Dax as an uncompromising DIY auteur who wrote, arranged, and produced the entire project. Demonstrating her immense talent as a multi-instrumentalist, she played nearly all the instrumentation herself—including keyboards, guitars, saxophones, and programmed TR-808 drum machines—to craft a subversive sonic landscape that seamlessly bridges the gaps between post-punk, darkwave, industrial, and avant-pop.

Sonically and visually, the album represents a milestone in 1980s British underground counter-culture, featuring striking, painterly cover art by multimedia artist Holly Warburton. The tracklist explores dark, theatrical, and sociopolitical themes, ranging from the anti-racist industrial-blues loop of "Evil-Honky Stomp" to the hypnotic Middle Eastern textures of "Fortune Cheats." Through shifting vocal dynamics that effortlessly leap from operatic heights to menacing spoken-word delivery, Dax treats her voice as an unpredictable experimental instrument. The result is a haunting, highly influential artifact of independent music that remains a definitive example of boundary-pushing art rock.

The Barracudas - Drop Out With The Barracudas

The Barracudas' debut album, Drop Out with the Barracudas, is two records in one. On their first singles, the band presented as a kind of fun-loving surf rock group, singing about Woodys and California-flavoured good times. Their first recording session for the album took place during a hot London summer, and the songs reflected that. The second session took place later in the year when the weather was colder and the mood was less cheery. The initial trip yielded lighthearted fare like "Campus Tramp" and "On the Strip" (as in Sunset Strip), retro songs ("California Lament" and "[I Wish It Could Be] 1965 Again"), and even a goofy novelty ("His Last Summer"). The band hit their marks perfectly, crafting loving homages to surf and garage powered by Robin Wills' peppy guitar and Jeremy Gluck's enthusiastic vocals. 
Interestingly, the group stuck all these songs on the flip side of the LP, preferring to lead off with the darker, more intense material from their second studio visit. Here, they were more influenced by folk-rock and protest songs, landing closer to the Electric Prunes than Jan & Dean. They sound even better on these tracks, even as subject matter is dead serious and the sunny jangle is usurped by jagged leads, slicing chords, and an almost punky level of intent. Songs like the Flamin' Groovies-influenced "I Can't Pretend" and "We're Living in Violent Times" are almost direct contradictions of their early work, "Codeine" is about the gloomiest song of the '60s to cover, "I Saw My Death in a Dream Last Night" cuts close to the bone thanks to Gluck's pleading vocals, and "Somewhere Outside" gives the Jam a run for their money as far as uplifting mod anthems go. Which side of the record sounds more appealing depends on the mood one is in when getting ready to listen. Feeling kinda blue and depressed about the state of the world, try side one. Want to escape with some good-time oldies, then side two is perfect. Most bands would struggle to be convincing in either format, but the Barracudas managed both with ease and came up with one of the best garage rock revival albums, defining the genre almost before it even got up and running.

The Bags - Survive 7'' And Legal Weapon - No Sorrow 12''EP

The Bags were one of the first generation of punk rock bands to emerge from Los Angeles in the late 70's formed by Alice Armendariz and Patricia Rainone. The first line-up includes Alice on vocals, Pat on bass, Janet Koontz and Geza X on guitars and Joe Nanini on drums; with this line up The Bags played their first show at The Masque on September 10, 1977. During this first period many drummers played in the band, like Nicky Beat, Don Bonebrake and Don Bolles.

With a new line up featuring Alice and Pat, Craig Lee and Rob Ritter on guitars, and Terry Graham on drums, The Bags released in 1979 their first and only record, the single "Survive" on Dangerhouse Records. A third track from the session "We Don't Need The English" was included on the "Yes L.A." compilation. After this, Pat left the band. In 1980 the group, minus Pat, was filmed by Penelope Spheeris for the punk rock documentary film, 'The Decline Of Western Civilization'. At the release of the film in 1981 the producers billed the group as Alice Bag Band to avoid any conflict with ex-member Pat. By then, however, the band had broken up. Alice went on to join Castration Squad.

Terry Graham and Rob Ritter joined The Gun Club; Ritter later change his name to Rob Graves and formed the seminal death rock band 45 Grave. Pat, later known as Patricia Morrison joined the band Legal Weapon.

Legal Weapon were a Southern California punk band, initially composed of singer Kat Arthur and guitarist Brian Hansen (both previously of the Silencers), bassist Patricia Morrison (formerly of Bags and later of the Gun Club, Fur Bible, The Sisters of Mercy and the Damned), drummer Charlie Vartanian and guitarist Mike R. Livingston. Their debut 12”EP titled No Sorrow was the only release that Patricia played on before she left to join The Gun Club with Terry Graham and Rob Ritter. As you may have already sussed, this is a wee post dedicated to the legend that is Patricia Anne Rainone.

Various Artists - The Best… Album In The World… Ever!

Launched in 1993 by Virgin and Circa Records, "The Best… Album In The World… Ever!" became a monumental force in the UK music industry. While it initially debuted as a vehicle for electronic dance music, the compilation series truly found its identity by capturing the massive Britpop and alternative rock explosion of the mid-to-late 1990s. By bundling massive chart-toppers from iconic bands like Oasis, Blur, and Pulp onto accessible multi-disc sets, the franchise established itself as the definitive sonic mirror of the Cool Britannia era.

As the brand grew, it successfully diversified far beyond indie rock into a vast empire of genre-specific spin-offs. The franchise released dedicated volumes covering club anthems, air guitar rock, 1960s classics, and smooth soul, making it a staple in British household CD towers. Before the advent of digital streaming algorithms, these carefully sequenced physical albums served as the ultimate, affordable gateway for music fans to discover both mainstream hits and underground cross-over tracks, leaving behind a rich, nostalgic archive of a golden era in British pop culture.

Various Artists - DIY - Shake It Up! - American Power Pop II (1978-80)

DIY: Shake It Up! - American Power Pop II (1978-80) is a definitive compilation album released by Rhino Records on 16 February 1993. Curated by Gary Stewart and remastered by Bill Inglot and Ken Perry, it serves as the third volume in Rhino's acclaimed nine-part D.I.Y. series documenting the underground punk and power pop movements. This specific collection captures the vibrant, melodic energy of late-1970s American guitar rock, featuring legendary tracks from influential bands like The Romantics ("What I Like About You"), Shoes ("Tomorrow Night"), and 20/20 ("Yellow Pills"). Enhanced by distinctive cover illustrations from alternative comic artist Peter Bagge, the album is highly regarded by music historians as an essential archive of an era defined by catchy hooks, driving rhythms, and independent songwriting.

The album provides a comprehensive look at the regional scenes and independent singles that kept mid-tempo rock alive right before the rise of MTV. It bridges the gap between mainstream radio rock and the emerging college alternative scene, highlighting essential contributions from acts like The Rubinoos, Paul Collins' Beat, and Chris Stamey & The dB's. By collecting rare 45rpm singles and underground fan favorites, the compilation highlights a brief but passionate window in American music history where power pop briefly crossed over from local club circuits to national subcultural prominence.

Various Artists - Extend The 80s Electro

Extend The 80s Electro is a comprehensive three-CD compilation album released by BMG/Rhino in 2018 that celebrates the innovative synth-driven sounds of the 1980s. Spanning 30 tracks, the collection avoids standard radio edits in favour of rare, full-length 12-inch remixes, extended versions, and club mixes. It captures a pivotal era in music history when electronic production techniques, drum machines, and synthesizers began dominating the airwaves. The tracklist seamlessly bridges the gap between mainstream electronic pop and the underground club scene, showcasing how producers of the era expanded songs into immersive soundscapes for the dancefloor.

The compilation features an impressive roster of definitive 80s artists, including synth-pop royalty, new wave pioneers, and electro-funk innovators. Listeners can dive into legendary extended mixes such as Frankie Goes To Hollywood’s "Relax" (12" New York Mix), The Art of Noise's avant-garde "Beat Box (Diversion One)", and Propaganda's dark synth masterpiece "Dr. Mabuse (13th Life Mix)". Alongside these massive chart-toppers are cult club classics from artists like Japan, Thomas Dolby, Nena, and the West Street Mob. Serving as part of BMG’s wider Extend the 80s series, this specific volume remains a highly sought-after time capsule for audiophiles and DJs looking for the definitive, unedited sounds of the electronic decade.

Various Artists - Deathrock California 1980-1985

Originating from the music blog "Blogged and Quartered", Stormy shares a personally curated compilation titled "Deathrock California: The Darker Side of California Punk Rock: 1980-1985." Driven by a lifelong affinity for campy horror movies and dark imagery, the blogger created this collection to fill a historical gap, noting that mainstream labels frequently mismanaged deathrock compilations by including unrelated late-80s and 90s goth bands. Stormy’s tracklist focuses heavily on rare, underground, and female-fronted acts from the early 1980s Southern California scene that successfully blended heavy punk edge with a sinister, gothic atmosphere.

The overview breaks down 17 influential West Coast artists and explains why their specific tracks were chosen for the compilation. Featured bands include genre icons like Christian Death and 45 Grave, alongside highly overlooked or short-lived regional acts such as Red Scare, Burning Image, Conservatives, and Secret Hate. Each profile documents the band's historical footprint, highlight releases, and notable personnel—such as Rikk Agnew's ubiquitous influence across multiple projects like the Adolescents and D.I. By highlighting deep cuts alongside well-known tracks like D.I.'s movie-featured "Richard Hung Himself," the post serves as a comprehensive, archival tribute to the volatile intersection of hardcore punk and early gothic rock.

Various Artists - Dangerhouse [Vol 2] Give Me A Little Pain!

Dangerhouse Volume Two: Give Me A Little Pain! is a landmark compilation album released by Frontier Records in 1992 that archives the explosive birth of Southern California's punk rock movement. The collection compiles rare singles, B-sides, and tracks originally issued between 1977 and 1979 by Dangerhouse Records, a legendary, short-lived independent label founded by David Brown and Pat "Rand" Garrett. Unlike the uniform hardcore sound that later dominated the region, this compilation highlights the eclectic, artsy, and wildly experimental nature of LA's first-wave punk scene, making it an essential historical document for music historians and vinyl collectors alike.

The 14-track album features definitive anthems from some of the West Coast's most influential underground pioneers. Listeners are treated to the razor-sharp political punk of The Dils and The Avengers, the chaotic art-punk synth styling of Black Randy & The Metrosquad, and the ferocious energy of female-fronted acts like the Bags. It also includes foundational tracks from iconic bands like X and The Weirdos, alongside deep cuts from Rhino 39, Eyes, and The Alley Cats. Together, these tracks capture a brief, volatile window of musical history defined by raw aggression, absolute creative freedom, and dark humor.

Various Artists – Dangerhouse [Vol.1]

Dangerhouse was one of the first independent labels to document the burgeoning West Coast punk rock scene. Started in 1977 and collapsing by the end of 1980, it was a short-lived enterprise, which nonetheless left an indelible mark on the punk rock history. Established by David Brown and Pat "Rand" Garrett, who were both members of the punk rock band Black Randy and the Metrosquad, the company operated on a limited budget, supported by the more conventional typesetting and aerospace jobs of the founders. Black Randy himself got a day job in telemarketing and joined the effort as a business partner. Despite its scarce resources, Dangerhouse was notable for its production quality. They released records on many of California's finest first-wave punk bands, including X, The Eyes, The Bags, The Alley Cats, Avengers, the Weirdos, and the Dils. In its brief existence, Dangerhouse Records put out only 14 7-inch vinyl records, one LP, and one compilation 12-inch EP.

The Buggles - The Age Of Plastic

The fun, quirky single "Video Killed the Radio Star" garnered The Buggles international attention in 1980, but it was just one of The Age of Plastic's fascinating, futuristic visions. From the title track's opening strains, Trevor Horn and Geoff Downes transform your living room into a world of Jetson-like proportions. It's a world, though, where technology is seen for what it is -- full of both promise and frightening implications. On "I Love You Miss Robot," a metaphorical love affair with a robot explores modern man's relationship to, and dependence on, technology. "Kid Dynamo"'s spirited tempo, biting lyrics, and menacing vocal track questions the loss of imagination plaguing the mass media age. For the most part, The Age of Plastic is a fun record that doesn't need to be taken too seriously, though a subtle sense of loss is woven throughout. Variety is the constant and tracks vary from the giddy "Video," to the dark and pulsating "Johnny on the Monorail.." The vision here is so beautifully articulated that the superb musicianship and production wizardry is easily overlooked. Paradoxically, Horn and Downes employed electronic devices (which were considered new and cutting edge in the late seventies) to create an album which, at times, spoke eloquently about their drawbacks. With The Age of Plastic, Horn and Downes stamped an indelible image in the collective pop psyche. What is equally impressive is the sound of this disc given its analogue origins and 1980-release date. While hiss can be heard in some of the quieter passages, it would be difficult to find a record from this era that sounds half as good. Pop rarely reaches these heights.