Given his gutbucket-of-blues voice, it's a surprise to find the ex-Uncle Tupelo/Son Volt man's first live album arriving 15 years into his career. Backed by Washington DC's Canyon, this is Farrar's 2003 US tour: the sound crisp, tight and fluid. Alongside thrusting newies "Doesn't Have To Be This Way" and "6 String Belief" are covers of Floyd's "Lucifer Sam" (an early Tupelo staple) and Neil Young's "Like A Hurricane". His solo material is typified by the thudding "Damn Shame".

As solo outlet for Carl Johns—leader of Wisconsin countryites NoahJohn—Charlemagne allows him the freedom to break the slow-shuffle shackles and explore pop. The headlong skip of "Dawn Upon" is typical, its happy quick-step framing a tale of a man tormented by moonlit visions of a lost love.

A warm-hearted homecoming for Athens bard Chesnutt's earliest recordings

Brian Wilson backs his own backing band

Noir is the hour...

Ian McLagan-compiled four-CD box from ultimate '70s boogie'n'ballads lad-band. Dedicated to Ronnie Lane

Twenty-five international cuts of late-'60s underground mod beat

"Unassuming and grandiose" lost classic, according to producer Steve Albini

Early reissue programme for monarchs of mournfulness

By 1967, rock'n'roll's voracious appetite for new sounds had drawn it unexpectedly close to another countercultural phenomenon: the classical avant-garde. John Cale, a former student of LaMonte Young, was introducing minimalist drone to The Velvet Underground. Paul McCartney was becoming diverted by the musique concrète and collagist techniques that would eventually result in "Revolution 9".