Album

Debut of lean, libidinous mechanico-funk from London DJ duo

Ill-chosen selection that ignores her best work

While Matchbox 20 have been a byword for AOR, director Hamish Hamilton's concert film has a sense of scale and occasion that makes Rob Thomas and friends look like a group with something almost thrilling to say. Caught in Atlanta during their 2003 tour, the band build a head of steam banging through hits like "Push", "3 AM" and "Bent".

Remastered and expanded recordings from Paisley Underground pioneers

LA's 35-year-old singer/songwriter nearly jacked in the solo stuff last year, so Return In Kind, though a covers record, is something of a reaffirmation. Where Casal has sometimes been victim of a too-perfect voice, here (as in recent work with side project Hazy Malaze) he adds grit to the mix.

The Beeb are hoping for a kind of Our Friends In The North success with this 1963-79-spanning Soho crime drama. Its author, Jake Arnott, has written sleevenotes for this 44-song double album, which moves from buoyant '60s hits from James Brown and Dusty to '70s landmarks by T. Rex and The Jam. R Dean Taylor's "There's A Ghost In My House" is exhilarating, Rod Stewart's "Reason To Believe" is moving, and Bowie's "London Boys" is seedily weird.

Ethereal North Carolina quintet's difficult third full-length album

The punk-jazz leviathan's 'hits' compiled and annotated by the man himself, with bonus live CD

When papa found the brand new bag called The One—the funk beat wherein the first accent hits at the start of the bar—he revolutionised African-American dance music. The next 10 years ('65-'75) were spent honing the most propulsive grooves ever laid down on tape: "Cold Sweat", "Mother Popcorn", "Sex Machine" and their kind. Prior to his golden decade, Brown and the crack unit that was the Famous Flames were an impassioned rhythm'n'gospel line-up.

Key works of the first New Pop star of the '80s remastered. Must be learnt by heart