With its inspired marriage of bossa nova and cool electronics, Bebel Gilberto’s acclaimed debut album has perfectly captured the mood of the times. Released by Crammed in 2000 on its Ziriguiboom imprint, “Tanto Tempo” has become an international best seller, making it one of the most globally successful albums of Brazilian music ever. Produced by Suba (the Sao Paulo-based Serbian producer who tragically passed away just before the release of the album), and featuring collaborations with Amon Tobin, Mario Caldato, Chris Franck & Nina Miranda, and the Thievery Corporation.

Following his debut ‘Maxinquaye’ was never going to be an easy task for Tricky – the record defined a sound and a generation, and took abstract, stoned hip hop into the UK charts and around the world in the mid-1990s - but ‘Pre-Millennium Tension’ managed that comfortably. Densely packed with Tricky’s trademark choking, paranoid beats, intelligent scepticism and guttural rhyme technique, and boasting three successful singles, this album took the Bristolian to a far deeper, murkier level than his debut. So much so that Q Magazine dubbed ‘Pre-Millennium Tension’ one of the 50 ‘Heaviest Albums Of All Time’. Well-received by both fans and critics, and featuring long-time collaborator, the brilliant Martina Topley-Bird, ‘Pre-Millennium Tension’ is ripe for rediscovery.

Ennio Morricone 's compilation album from Quentin Tarantino's films including Django, Kill Bill and Inglourious Basterds.

With Absinthe, his second release for ECM, guitarist Dominic Miller has created an album colored by a distinct atmosphere. “The first thing that came to me before I wrote any tunes was the title,” he says. “Living in the South of France, I am fascinated by Impressionism. Sharp light and witchy mistrals, combined with strong alcohol and intense hangovers must have driven some of these artists toward insanity. Skies that are green, faces blue, perspective distorted.” While Miller’s ECM debut, Silent Light, emphasized intimacy in solo and duo settings, Absinthe finds the guitarist fronting a quintet that brings his ever-lyrical compositions to textured life.

From the wreckage of Free came Bad Company, a group fronted by singer Paul Rodgers and featuring his drummer bandmate Simon Kirke, Mott the Hoople guitarist Mick Ralphs, and King Crimson bassist Boz Burrell. The latter is something of a ringer, suggesting an undercurrent of adventure in the band, but as the group's eponymous 1974 debut decidedly proves, the band is proudly not progressive. If anything, Bad Company excise the excesses of Free - there are no winding jams and very little added color by way of pianos or even air in the production; those two tricks are evident on their title track/rallying call "Bad Company," and the details make a difference, as do the pastoral acoustics of the closing "Seagull" - reducing their rock & roll to a strong, heavy crunch; compare "Ready for Love," a tune Ralphs brought over from Mott the Hoople, to the original to see how these quartet members keep their heads down as they do their business…

Here are 3CDs of essential blues from the legendary artists who started it all, Featuring 60 classic recordings grom the likes of John Lee Hooker, Muddy Waters, Bo Diddley, Howlin' Wolf, Lowell Fulson, Leadbelly, Robert Johnson, Ella Fitzgerald, Dinah Washington and many, many more.

The ultra-hip and sophisticated "cool jazz" that Chet Baker (trumpet/vocals) helped define in the early '50s matured rapidly under the tutelage of producer Dick Bock. This can be traced to Baker's earliest sides on Bock's L.A.-based Pacific Jazz label. This album is the result of Baker's first sessions for the independent Riverside label. The Chet Baker Quartet featured on Chet Baker Sings: It Could Happen to You includes Kenny Drew (piano), Sam Jones (bass), and Philly Joe Jones (drums). (Performances by bassist George Morrow and drummer Dannie Richmond are featured on a few cuts.) This results in the successful combination of Baker's fluid and nonchalant West Coast delivery with the tight swinging accuracy of drummer Jones and pianist Drew. Nowhere is this balance better displayed than the opening and closing sides on the original album, "Do It the Hard Way" and "Old Devil Moon," respectively…

Emerson, Lake & Palmer's 1970 eponymous LP was only a rehearsal. It hit hard because of the novelty of the act (allegedly the first supergroup in rock history), but felt more like a collection of individual efforts and ideas than a collective work. All doubts were dissipated by the release of Tarkus in 1971. Side one of the original LP is occupied by the 21-minute title epic track, beating both Genesis' "Supper's Ready" and Yes' "Close to the Edge" by a year. Unlike the latter group's cut-and-paste technique to obtain long suites, "Tarkus" is a thoroughly written, focused piece of music. It remains among the Top Ten classic tracks in progressive rock history. Because of the strength of side one, the material on the album's second half has been quickly forgotten - with one good reason: it doesn't match the strength of its counterpart - but "Bitches Crystal" and "A Time and a Place" make two good prog rock tracks, the latter being particularly rocking…

Recorded in 1976 - after Brian Eno had proclaimed them one of the best groups around - but for whatever reason not released until 20 years later, Tracks & Traces is a fascinating release not merely for Eno's participation but for the hints of music that would become mainstream in the future. Indeed, opening cut "Vamos Companeros" has an intense guitar line from Rother that in its nervous, choppy way suggests everything from Wire to Bauhaus, not to mention Eno's own noted production clients, U2. Having already created two excellent albums, the core Harmonia trio was easily placed to whip up a third, with Eno the wild-card factor who turned out to be a perfect addition. While contributing some lyrics and singing at a time when he was steering away firmly from both in his own solo work, most of the time Eno lets the band speak for itself musically, most notably adding snaky, quietly threatening basslines…