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Genre: Popular Music
Media Format: Compact Disk
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Release Date: 28-JAN-2003

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What's the Now That's What I Call Music series got to do with a year like 2002? Sure, the biggies--from Nelly to No Doubt--rode new hit material that's featured here. But during the same year, piano-playing wunderkind Norah Jones wowed listeners with a mellow new marriage of pop and jazz. And the Dixie Chicks closed out a long legal battle and presented a down-home traditional country record that topped the charts. Now 11 is the CD equivalent of a mix tape that bounces from big, urban beats and rhymes to laid-back electro-pop chill to coolly groundbreaking piano-driven melodies. Norah, the Chicks, and Coldplay all push Now in a more adult-oriented direction, one where beats take a backseat to acoustic instrumentation and sincere lyrics. Then there's the notably sultry, full-blossomed "I Care 4 U" from Aaliyah, which stands as a fine tribute to the late singer. --Andrew Bartlett

The Late Night Tales CD series (formerly Another Late Night) is one to kick back to while you expand your horizons. This edition is compiled by Nouvelle Vague, who usually perform cover versions of '80s hits with a Latin lounge flair. This set follows on from compilations by Belle & Sebastian, The Flaming Lips, Fourtet, Jamiroquai, Nightmares on Wax, Turin Brakes, Sly & Robbie, Groove Armada and others. Includes tracks from The Specials, Os Mutantes, Pale Fountains, Tones On Tail, Julie London and an exclusive Nouvelle Vague track, their cover of Dexys Midnight Runners' 'Come On Eileen'. Azuli. 2007.

Release Date: 2001-08-21, Audio CD, Razor & Tie

1. Yellow2. In My Place3. God Put A Smile On Your Face4. Clocks5. Shiver6. Trouble7. Everything's Not Lost8. Don't Panic9. Daylight10. Windows (Original Composition by Tom Tally)Format: CD

Featuring 44 tracks, all groundbreaking performances, covering a diverse roster of incredible talent that revolutionized the music. Remastered form original tapes. Artists include Elvis Presley, Johnny London, Johnny Cash & The Tennessee Two, Jack Earls, Carl Perkins, James Cotton and many more. Initial pressing includes a limited edition sticker of the original Sun label for Elvis Presley's single 'Mystery Train'. 2002 release.

"OUTSIDER MUSIC" refers to a genre of sonic exotica that in some ways is so wrong -- it's right! Outsiders could be the product of supernatural possession, damaged DNA, drug fry, psychosis -- or none of the above. These often self-taught artists may lack conventional tunefulness and self-awareness, but they display an abundance of earnestness and passion. And they're worth listening to, often surpassing all contenders for inventiveness and originality. This CD is a counterpart to the book SONGS IN THE KEY OF Z: THE CURIOUS UNIVERSE OF OUTSIDER MUSIC (A Cappella Books/Chicago Review Press), and it was produced by the author, Irwin Chusid. The text explores such avatars of outr? sonics as The Shaggs, Daniel Johnston, Harry Partch, Syd Barrett, the Song-Poem industry, Jandek, the Cherry Sisters, Captain Beefheart, Florence Foster Jenkins, Wesley Willis, Wild Man Fischer, and countless other musical eccentrics with cult followings. This CD features songs by artists profiled in the book. From the uninhibited howling of the Legendary Stardust Cowboy to the arrested-adolescent passion of Daniel Johnston; the LSD-cabaret crooning of Arcesia to Joe Meek's rare, wobbly "Telstar" vocal demo; the Shaggs aboriginal backwoods rock to Lucia Pamela's vertigo-bent outer space lunacy -- SONGS IN THE KEY OF Z promises an unforgettable romp through music too strange for radio but too fascinating to ignore. For more information on the artists featured on this CD, buy the book (available on Amazon.com). Then behold the magic, the visionary nature of outsider sonics. You may never want to come back inside again.This collection is a companion to Irwin Chusid's book of the same name. It celebrates outsider music, music "so wrong it's right," and if you're drawn to sounds that make you wonder just what the musician was thinking, this collection is for you. The compilation is enthusiastically, if not always respectfully, annotated by Chusid. His selections range from the output of blissfully un-self-aware but basically functional individuals to the certifiably insane. Among the former are Lucia Pamela, an Ethel Merman sound-alike who contributes an infectiously enthusiastic celebration of "Walking on the Moon," and Congress-Woman Malinda Jackson Parker, a late Liberian lawmaker whose "Cousin Mosquito #1" cautioned against contracting insect-borne disease. The latter include Daniel Johnson, whose "Walking the Cow" weds a sublime melody to puzzling lyrics and a toy keyboard arrangement, and Wesley Willis, who pays tribute to Chicago's "Rock 'n' Roll McDonald's." Some of the artists are quite famous (Tiny Tim), some anonymous (the unknown writer and performers of song-poem "Virgin Child of the Universe")--they're united by their blithe certitude that the world needed to hear their unlikely but singular creations. --Bill Meyer

Release Date: 2002-07-23, Audio CD, Sony

While the cultural shorthand image for '80s pop--pogoing new wavers in skinny ties and parachute pants--may be endearing, it ignores some inconvenient realities, i.e. big hair, arena pomp, glam metal, and the ascendancy of corporate rock. Here's one collection that doesn't overlook all that head-banging, hair-teasing, or overwrought, squeaky guitar soloing. Ranging from relatively tasteful radio fare (Foreigner's archetypical "Juke Box Hero," Billy Squier's late-decade "Don't Say You Love Me," "Twilight Zone" by Dutch vets Golden Earring) to energetically mindless anthems (Night Ranger's "Rock in America," Judas Priest's "Living After Midnight") to prime power ballads (Poison's "Every Rose Has Its Thorn," Whitesnake's "Here I Go Again") to acts so wretched (the shameless Zep-aping of Kingdom Come, Cinderella--period) they make one yearn for the relief of David Lee Roth video marathon, this collection offers up a good cross section of what kept the music business solvent during the decade--and gave a subsequent generation of alt-rockers a target wider than David Coverdale's hair. It also documents hits by some now lesser-known contenders (Y&T, Triumph, Autograph) and the fact that acts like Ratt could muster infectious pop hooks as bright as those red vinyl suits the Romantics insisted on wearing. But then it was a silly decade, wasn't it? --Jerry McCulley