A rare solo outing from Ry Cooder, but don't expect the conventional `twelve unrelated songs' schtick that constitutes an album these days. For "Chavez Ravine" is a concept album about the eponymous area near Los Angeles that was torn down in the 1950's by developers to make way for the Dodgers Stadium. The attraction of this neighbourhood for Cooder is obviously its largely Hispanic population, which is explicitly echoed in the music that tells the story. Linking his past solo work with his famed Buena Vista Social Club projects, Cooder delivers his story amidst lazy Cuban percussion, rolling piano, mariachi horns and of course, his understated guitar playing. Of course there are still surprises; the schizophrenia of "Don't Call Me Red"; half ballad, half frenetic percussion and television narration being the biggest and best. With a large cast of vocal talents, including the legendary Little Willie G of The Midniters, and Cooder's own contributions (which end up sounding not unlike Steely Dan fronted by John Sebastian), the album as a whole is extremely effective and succeeds in every department, evoking the kind of atmosphere aimed for. -Thom Allott.

Fragile in most spots, ferocious in others, Harper's second album makes for a stirring listen. Harper's music preaches awareness-whether it is political, social, spiritual or personal-though he is more concerned with getting people to look for answers themselves than with providing answers for them. To get across such a range of ideas requires a full range of musical styles, and Harper incorporates elements of many to craft a unique whole. Though the record is mostly of a reflective tone, Harper's Weissenborn guitar can act as an effective weapon as well as a soothing embrace, and even in the music's quietest moments, there is a sense of urgency. And despair. And hope. -Marc Greilsamer.

Another decade, another repackaged Hendrix compilation; but like the Beatles and the Doors, his music has a timeless quality perfect for younger generations to rediscover time and time again. Voodoo Child covers the best of his studio work and live performances recorded over the four years in the run-up to his untimely death in 1970. As with many of the previous "best of" collections, CD 1 (the studio side) is packed heavily with the instant pop hits of his debut Are You Experienced with only a handful of hits from his subsequent two "proper" albums. All the usual big names are here, "Purple Haze", "Hey Joe", "Crosstown Traffic", "Voodoo Child" etc. but tacked on the end are some of his finer low-key moments, such as the soulful funk of "Izabella", the epic theme to his Rainbow Bridge film, "Hey Baby" and the sublime space-rocking car ad "Third Stone from the Sun". CD 2 is collected from his numerous live albums and includes some defining moments in the guitarists brief history such as the passionate political thriller "Machine Gun" with his Band of Gypsies; mammoth blues romp "Hear My Train a Comin'"; the now legendary version of him tearing through "Wild Thing" at Monterey and of course his signature tune, the "Star Spangled Banner" Live at Woodstock. Being such a prolific writer, performer and recording artist it will always be difficult to cram his best work into two discs but Voodoo Child serves as a more than adequate introduction to one of the greatest rock icons in history, with no glaring omissions (apart from the bold decision not to include the studio "Foxey Lady") or unworthy inclusions to upset his many disciples. -David Trueman.

These 17 tunes come from King's most fertile period, his 1966-68 tenure at Memphis's Stax Records. Stax chief Jim Stewart had been reluctant to sign blues artists because he felt straight blues wouldn't mesh with Stax's patented Memphis soul. Ironically, the fusion of King's sharp guitar wails with the dynamic rhythms of Booker T. & the MGs-the Stax house band-was what set King apart from other bluesmen. The unique blend produced classic after classic: Booker T. Jones' rolling piano propels "Laundromat Blues". Al Jackson's drum shuffle supports "Crosscut Saw". The driving horns of Andrew Love, Wayne Jackson and Joe Arnold accentuate "Born Under a Bad Sign". King's ripe and mellow vocals are a perfect match for the soul-drenched music while his dramatic string bends leap out. -Marc Greilsamer.

As emblematic of its time as of its sorcerer-like creator, 1967's Are You Experienced? unleashed Jimi Hendrix onto a world in the midst of such cultural and musical shake-ups that it really didn't seem as "far out" as it actually was. It wasn't just Hendrix's virtuosic skill as a pure player that was so impressive; it was, even more, the range and scope of sheer sound that he coaxed, cajoled and ripped out of his instrument. "Purple Haze", "Manic Depression" and "I Don't Live Today" filled ears with indelible sonic images and songs like "Foxey Lady" and "Fire" pointed the way toward a new brand of rock-charged soul music. And how about a hand for drummer Mitch Mitchell? -Billy Altman.

Another decade, another repackaged Hendrix compilation; but like the Beatles and the Doors, his music has a timeless quality perfect for younger generations to rediscover time and time again. Voodoo Child covers the best of his studio work and live performances recorded over the four years in the run-up to his untimely death in 1970. As with many of the previous "best of" collections, CD 1 (the studio side) is packed heavily with the instant pop hits of his debut Are You Experienced with only a handful of hits from his subsequent two "proper" albums. All the usual big names are here, "Purple Haze", "Hey Joe", "Crosstown Traffic", "Voodoo Child" etc. but tacked on the end are some of his finer low-key moments, such as the soulful funk of "Izabella", the epic theme to his Rainbow Bridge film, "Hey Baby" and the sublime space-rocking car ad "Third Stone from the Sun". CD 2 is collected from his numerous live albums and includes some defining moments in the guitarists brief history such as the passionate political thriller "Machine Gun" with his Band of Gypsies; mammoth blues romp "Hear My Train a Comin'"; the now legendary version of him tearing through "Wild Thing" at Monterey and of course his signature tune, the "Star Spangled Banner" Live at Woodstock. Being such a prolific writer, performer and recording artist it will always be difficult to cram his best work into two discs but Voodoo Child serves as a more than adequate introduction to one of the greatest rock icons in history, with no glaring omissions (apart from the bold decision not to include the studio "Foxey Lady") or unworthy inclusions to upset his many disciples. -David Trueman.

A rare solo outing from Ry Cooder, but don't expect the conventional `twelve unrelated songs' schtick that constitutes an album these days. For "Chavez Ravine" is a concept album about the eponymous area near Los Angeles that was torn down in the 1950's by developers to make way for the Dodgers Stadium. The attraction of this neighbourhood for Cooder is obviously its largely Hispanic population, which is explicitly echoed in the music that tells the story. Linking his past solo work with his famed Buena Vista Social Club projects, Cooder delivers his story amidst lazy Cuban percussion, rolling piano, mariachi horns and of course, his understated guitar playing. Of course there are still surprises; the schizophrenia of "Don't Call Me Red"; half ballad, half frenetic percussion and television narration being the biggest and best. With a large cast of vocal talents, including the legendary Little Willie G of The Midniters, and Cooder's own contributions (which end up sounding not unlike Steely Dan fronted by John Sebastian), the album as a whole is extremely effective and succeeds in every department, evoking the kind of atmosphere aimed for. -Thom Allott.