Henry Mancini and his Orchestra - "The Versatile Henry Mancini And His Orchestra" LP, Vinyl, Album, 1959 (Liberty)

The album cover alone is worth the purchase, and of course, there's music to go with the graphic cover.  The Versatile Henry Mancini is a combination of exotica and a down kind of mood. This album floats, but it does have its tension.  For one, he's a brilliant arranger.  Everything is top-notch on his recordings.   This is one of my favorite Mancini albums. 

As mentioned its hard to get past the cover, but there are elements here that reminds me of Brian Eno's "Another Green World," as well as some of Brian Wilson's "Pet Sounds" era.   Although the theme of the album is exotica island life, it has a noir quality as well.  Accordion comes between the organ which gives it a charm, with the occasional guitar joining the aural party.  It's a beautiful sound conveying not the islands, but the thought or imagination of such a place.  Mancini is not presenting reality but a 'sound' imaginary place.     Nor is it in your face like a Martin Denny recording.  Mancini is more sleepy, drowsy and very sexual. 

Mancini has done all sorts of music, and the one's I know are his soundtracks and some of his jazz-related recordings.  I never heard his albums devoted to the famous film soundtracks of its time, because the theme turns me off.  But this is an exceptionally great album.   For those who like 'moderne' sounds of the mid-century will go big on this, but also if you like the more experimental or exploration side of exotica. 

The Rumour - "Frozen Years" 45 rpm Single, 1979 (Stiff Records)

The Rumour was (and still is) Graham Parker's backup band.   In a way, they're sort of the Crazy Horse to Neil Young.  I liked Parker's music but never felt close to his work.   On the other hand, I'm crazy about The Rumour's "Frozen Years."  For me, it's a reflection of or from David Bowie's "Heroes."  It's commentary on something being viewed or thought of.  Journalism as a song?  The melody seeps into my consciousness and I'm often humming the song when taking a bath.  Also the phrase "caught in the Frozen Years" has a touch of tragedy but with beauty.  It's like a photograph that you keep, but you're not sure why.  

Gene Pitney - "That Girl Belongs To Yesterday" b/w "Who Needs It" 45 rpm Vinyl Single, 1964 (Musicor)

Gene Pitney is an interesting figure in the pop world.  A hit maker who sang other people's songs, but also wrote: "He's A Rebel" for The Crystals and Phil Spector.   One evening he finds himself, which I imagine was the RCA recording studio on Sunset, at a Rolling Stones session.  It's an interesting combination of the Stones world of R n B and Pitney's hardcore sensibility in the realm of Pop.  He and Spector are actually on an early Stones session.   The dynamic duo, Jagger and Richards, wrote Pitney a single "That Girl Belongs To Yesterday."  Co-produced by Pitney and Andrew Loog Oldham. 

Mick and Keith were fantastic in writing on or putting down the female race.  "Under My Thumb," "Stupid Girl," and this oddity of a song "That Girl Belongs To Yesterday."   I love the title so much that I actually want to have a bad relationship with a woman, just to say the title to her.  It's a beautiful under a three-minute piece of noise that clearly is influenced by the Phil Spector aesthetic but even goes beyond those type of recordings.  Spector has a sense of control and drama, but on this song and recording, Pitney pulls no stops in throwing his energy and emotion within the wax.  I'm curious to know who plays on this session.  Are Mick and the Stones on the recording?  Spector must have made an appearance, even a brief one.  It's an amazing record.   The B-Side is fantastic as well.  Wall of Sound coming out of my speakers. 

Harry Partch Instruments at RedCat Los Angeles

Elvis Presley - "Wordwide 50 Gold Award Hits, Vol 1" 4 x Vinyl, LP, Mono, Compilation, 1975 (RCA)

Mr. Presley is a large subject matter.  It's hard to wrap one's head around this (once) young man's recordings as well as his stature in the 20th-century.   In many ways, he is the 20th century in all its glory and horror.   In my collection, I have some 45 rpm singles, and also the Sun Recordings, and then there is this:  "Worldwide 50 Gold Award Hits Vol. 1."   And in Mono!

For me and my ears, one really has to work at locating the Elvis gems from the pile of RCA recordings.  In other words, he recorded a lot of crap.  But with him, even his crap is better than someone else's shit.  A brilliant vocalist who can work poop into something listenable.  But then again when he has a great song, and his voice/presence is wrapped around it  - nothing can be better.  His instinct is a well-tuned radar.  

When Elvis works with songwriters like Doc Pomus/Mort Shuman (my faves), Jerry Leiber/Mike Stoller, and Otis Blackwell, he can't do no wrong.  Brilliant songwriting meets the voice equals masterpieces.  I'm a fan of Elvis' recordings such as "Surrender," "Return to Sender," "You're The Devil in Disguise," "Little Sister" and even the hyper Italian pop of "It's Now or Never.'  Operatic to blues is a huge landscape, and Elvis easily can jump from one spectrum to the other. 

Right now, this is not a hard collection to find on vinyl, and not that expensive. It's big in scope and deserves a spot in one's home/listening area.  The great thing about Elvis is that he's a springboard to investigate and enjoy contemporary music.  With respect to the songwriters and the different mediums such as Country n' Western, Blues, Rock, Pop, show tunes, etc. - Presley is a magnet for further and very enjoyable studies in American culture. 

Thunderclap Newman - "Something in the Air" b/w "Wilhemina" 45 rpm Vinyl Single, 1969 (Track Records)

The most interesting member of the trio band Thunderclap Newman is their piano/sax player Andy Newman.   The fact that they use his last name as part of the band's name means a lot to me.  "Something in the Air' we have talked about before, but, the b-side is one of my all time favorite b-sides as well as a great tune.  "Wilhemina" is the only song written by Andy Newman, the odd looking member of Thunderclap Newman. Well, the whole band reeks of eccentricities, due that their guitarist Jimmy McCulloch was something like fifteen-years-old at the time of these recordings.  And Speedy Keen (a pal of Pete Townshend, therefore the producer) wrote most of the material for the band.  Still, if "Wilhemina" were on their first album, it would have been my favorite cut out of that fantastic LP. 

Good-timey that goes back to a Munich beer hall sometime in the past (but not THAT past) is Newman singing the joys of a lass named Wilhemina while drinking good German beer.  A-side is about revolution, and the B-side is .... drinking beer and enjoying female company.  Your pick! 

Various - "The Best of James Bond" CD, Album, Compilation, 1992 (EMI)

There are great John Barry compilations out there that focus not only on his James Bond work but the music he wrote for other films and even TV commercials.  On the subject of Bond, this CD package is my favorite.  It's a double disc set, with CD 1 focusing on the major Bond themes throughout the years, and the reason I purchased this particular copy is that of CD 2. 

The second CD is songs that didn't make the grade or instrumental suites put together for the incidental music scenes in the Bond films.  For example, the one masterpiece here is Anthony Newley's version of "Goldfinger."  I'm going to get shot for writing this, but I prefer Newley's version than the great Shirley Bassey.   Minimal with a jazzy/British beat, Newley conveys the villain's world as if he was a member of the Kray gang.  Perhaps this is my favorite Newley moment of them all.  And he made some impressive sounds/visuals throughout his short (died way too young) career.  The other great song on this collection is Louis Armstrong's "We Have All The Time in the World."   A Hal David lyric with Barry melody and then adding the great and aging Armstrong vocal, it's a moving performance.  Also noted is Bassey's "Mr. Kiss Bang Bang."   Also are radio spots for "Dr. No" and "Thunderball."  This collection is perhaps the best thing out of the Cold War era.  

Ultravox! - "Ha! Ha! Ha!" CD, Album, Reissue, Remastered, 2006/1977 (Island)

Not to be confused with the much later Ultravox with Midge Ure, this is the first version of the band that included the singer/lyricist John Foxx.  "Ha! Ha! Ha!" is their second album, and much improved from their first, in my humble opinion.  Foxx had a JG Ballard bent with regards to his lyrics or even with the visual aspect of the band.  At the time I thought of them as Roxy Music Jr.  Or a cousin of Howard Devoto's Magazine.   Like those two other bands, Ultravox! had an orchestrational touch to their music, meaning not strings (although there is violin in the mix) but the way the band was set-up with a wash of sound coming from them. 

They came on the scene at the height of the punk era, and was for awhile marketed as a 'punk' band, but clearly that is not what or who they are.  Songs "ROckWrok" and "The Man Who Dies Everyday" project an icy future of bleakness, and their classic "Hiroshima mon amour" (title based on the film, but I suspect that they didn't see the movie) is a beautiful electro-melody.  Steve Lilywhite did the production which is clean and energetic.  A great second album. 

Dave Dee, Dozy, Beaky, Mick & Tich - "Greatest Hits" Vinyl, LP, Compilation, 1967 (Fontana)

I could be wrong, but I suspect that Dave Dee, Dozy, Beaky, Mick & Tich (DDDBM&T) never actually had a hit in the United States.  For one, who can remember their full name?  Two, they made brilliant ultra-pop records.  So pop that it borders on the eccentric side of that category.  There are two reasons why I'm interested in DDDBM&T.  One, I first heard "Bend It" in conjunction with the great art duo Gilbert & George, where they did a dance to this recording.  I loved the song immediately.  And two, all their hit songs were written by Howard Blaikley, who were actually two songwriters, and wrote tunes for my beloved The Honeycombs. 

I don't think there is another band like DDDBM&T.  Their sound was unique in that it had traces of exotica but done in a hyper-British production that borders on over-production.  "Bend It" is just as powerful as The Who's "My Generation."  It's a rave-up type of tune, with the melody starting off slow, and then it gets faster and faster. Based on a Greek theme motif, it even has a bouzouki on the recording that gives it that cosmopolitan air.  DDDBM&T. had no fear of sounding corny.  In fact, no fear whatsoever.   

This "Greatest Hits" collection is made for American listeners, and it only has 10 songs on the album.  There are more hits and even intriguing b-sides in the U.K., but this is obviously a contractual release of some sort. I'm not sure if there was another official release in America of their music.  In a nutshell, there are better collections out there in the European countries and even (of course) in Japan. For the hardcore fan who must have it all, I direct you there.  Still, this is a delightful album for what it is.  Great tunes here like "Bend It," "You Make It Move," and my fave "Hands Off."   I now regret that I didn't purchase the Japanese CD releases that came out a few years ago.  What I have besides this album is stuff that I downloaded from various websites over the years. 

Soft Cell - "Say Hello, Wave Goodbye" 45 rpm Vinyl Single, 1982 (Some Bizarre)

I have a great admiration for Marc Almond's aesthetic and voice, but I never loved him.  I can't give you a reason why this is the case.  At the height of the Soft Cell fame, I had three of their albums, and all are fantastic.  Still, his voice is technically perfect but I find it lacking a certain amount of grit or soul.  This I think is more of a "me" problem than a Marc Almond problem.  A million fans will tell me otherwise, and I think they would be correct.  Still, the one song that I can never find fault with is "Say Hello, Wave Goodbye."  One of the great songs of the 1980s and such a beautiful melody.  Which comes to play in the big time with the instrumental b-side.  Dave Tofani's Clarinet solo is one of my favorite pieces of music.  Or I should say a series of moments. The playing is fantastic, but he really captures the Eros and regrets through the Clarinet.  It's an amazing sound and melody.  A perfection of sorts.   

Franck Barcellini & Alain Romans - "Bande Originale du film de Jacques Tati "Mon Oncle"" Vinyl, 7" EP, France, 1958 (Fontana)

It took me forever but I eventually found a copy of this French EP in Shinjuku Tokyo.  And in good shape!  I already have the music on a long player vinyl that focuses on all of Jacques Tati's soundtracks.  But this one is special, and not only due to the great front cover to this 7".   Boris Vian wrote the liner notes when he was working for the record label.  I never had it translated it into English, but since I'm a Vian freak, I just had to have this copy in my collection. 

The music, of course, is light. It fits in perfectly with the world of Tati and the planet that he lived on which I think is Tati-Land.  Or that should be the name of this planet Earth.  Tati had the ability to understand the nature of the industrial overtures in Europe, especially in France, and his witty commentary on modernism is both profound and of course, hysterical.  But if you dig deeper you can tell Tati had a real hatred or at the very least, a deep suspicion of the modern world.  

I know nothing of the two composers who wrote the soundtrack and researching them online in English comes with very little information.  Nevertheless, once you hear the music, it becomes the natural (almost organic) sounds of Tati and of course, Tati-Land. 

Bowie - "Diamond Dogs" Vinyl, LP, Album, 1974 (RCA)

When I bought this album, I knew something new was about to happen.  For the past two years I have followed David Bowie and Ziggy, and when he left his band, I figured that there was going to be a change in the air.   What is Bowie without Mick Ronson?  "Diamond Dogs" is another step into the artist's future, but it was also the bridge between his glam world and the planet of New York City soul.  The song "1984" with its Barry White instrumentation was the clue that there will be another world after this album. 

At the time (in 1974) I felt that this wasn't a complete collection.  Ziggy and "Aladdin Sane" sounded like a full album, as well as "Pin-Ups."  "Diamond Dogs" struck me as a work in progress. I could tell by the album's scope that there will be a theatrical show to go with it, but didn't think by any means it would be a depression era Bowie look with longer hair.  "Rebel Rebel" was an instant Bowie classic, and that was another puzzling piece of the puzzle.  The credit goes to "Bowie" as he didn't need the "David" anymore?  

From day one, I have always loved the "Sweet Thing" melody as well as "We Are The Dead."  That hasn't changed with me for the past 43 years.  I played the album in its entirety yesterday afternoon, and those music pieces still hold up for me.  The only song I'm not fond of is "Rock n' Roll With Me."  I never liked the song.  It's a perfect composition of its kind, but I loved the theater aspect of "We Are The Dead" as it builds up in its intensity.  "Sweet Thing" works the same way as it goes into its "Candidate" part.  Those songs are the walls which contain the album's mood and set piece.  "1984" is interesting in this context, because the sound is so different from the rest of this album.  Side one with the "Future Legend" to "Sweet Thing" and then "Rebel Rebel" strikes me as a classic programming on a record side.  I don't want to pick up the needle whatsoever!  It's like a short film.  A beginning, a middle, and an end.  "Rock n' Roll With Me" and "1984" sticks out musically if not in theme on the side 2.   Still, it's a fantastic album.  And the original vinyl sounds amazing when you play this record loud. 

Tony Conrad - "Ten Years Alive On The Infinite Plain" 2 x Vinyl, LP, Album, 2017 (Superior Viaduct)

A combination of Violin, something called the Long String Drone, and of course, the Bass Pulse is a blissful listening experience.  Ambient it's ain't because the music makes the listener pay full attention.  A good work to play loud, and a groove maker it is.   Tony Conrad had put together a multi-media presentation called "Ten Years Alive On The Infinite Plain" in 1972, and this is the recording of its soundtrack or music at the world famous Kitchen in New York City. 

I can't speak for the event because I wasn't there, but the music holds up significantly due to its length, and the skills of the three musicians on this specific piece.  Laurie Spiegel plays what I think is a bass guitar, but not sure.  The liner notes are not that clear what she's exactly playing.  Rhys Chatham plays the Long String Drone, an instrument made by Conrad.  It is a drone instrument, but it has a bass type of sound as well.  So the combination of the Bass Pulse and Chatham's playing of the Drone has a strong rhythmic foundation backing Conrad's cluster full of droning notes. 

As most things called Minimalism, this is actually a maximum piece of work.  Pure in mind, but complex in its structure and takes a physical stance playing this music.   Conrad had done performances of this piece using various instrumentation, but alas, those shows were not recorded (as far as I know), so the opening or premiere is what this album is.  The ultimate headphone laying on the floor with a pillow type of music. I love it. 

The Who - "Rarities Vol. 1 1966-1968" Vinyl, LP, Compilation, 1983 (Polydor)

Without a doubt the ugliest record design in my collection.  The fact is, I had to think for ten minutes to make a decision either way regarding purchasing this collection of Who B-sides.  Two songs here made the decision for me.  Their cover of the Rolling Stones "The Last Time" and "Under My Thumb."  Still, what bothered me greatly was the choice of the record label to use a portrait of The Who that was very much from the early 1970's when in fact, the actual recordings in this collection were made in the years 1966 -1968.  Little things like that bug me to no end!

If one forgets the cover, this is a great Who album.  B-sides have always been a fascination for me. I have enjoyed the A-side but have been consistently curious about what's happening on the flip side.  Very much like the curiosity regarding what's behind the door.   More pleasure has been found when I do play the mysterious B-side. 

For the past two years, I have been trying to locate the 45 rpm single of "The Last Time" b/w "Under My Thumb."  It's around but usually too far away (I rarely order items from overseas) or too expensive.   The Who recorded these two songs and put it out as a single as a support for the Stones who just got busted for narcotics in 1967.  The summer of love didn't mean that much in The Who world. The record is two voices of disgust, hate, and sour mood.  Which is usually a good combination for a good Who record.  The other highlight of this collection is that there are five John Entwistle songs on it. "Doctor Doctor" and "Dr. Jekyll & Mr. Hyde" are brilliant pieces of pop noise. The Entwistle songs are consistently amusing because the bass playing is aggressive, loud, and then there's the French horn in the chorus.   There are not that many French horns on a pop record unless it is something done by the Who's bass player.  And the Keith Moon manic drumming also shows up a bit louder on an Entwistle tune.  Kit Lambert's (and Chris Stamp's) production is muddy, chaotic, and always sounds best in Mono.  

It's extraordinary that I have heard the title "Dogs" in conjunction with The Who, but never actually heard this record for the last fifty years.  It's fantastic!  One of the great Townshend classics that somehow went way under the radar.   And also one gets what I suspect is the Keith Moon influenced Beach Boys/Jan & Dean tunes that are in this collection as well.   "Rarities Vol. 1"  is their best album after "The Who Sell Out."

Public Image Limited - "Metal Box" 3 x Vinyl, LP, Album, 45 rpm, 2006/1979 (Virgin/4 Men With Beards)

For me, this is the greatest album from the post-punk era: PIL's "Metal Box."   The first Public Image LTD. album I thought was pretty good.  Way more interesting than the Sex Pistols.  I like how Johnny Rotten (Lydon) took it up a notch with his ability not playing to the fans of the Pistols.  He was going to explore new worlds, and through "Metal Box" he not only entered a new space but kicked the door to that area and entirely caused a large entrance, where one can't close that gate anymore.  

This is a band that couldn't do wrong.  Keith Levene a brilliant guitarist and Jah Wobble, who re-invented the bass for me, were a band that was the definition of perfection. It couldn't last.  And that's OK.  When I think the word 'original,' it apparently means this album and its package.  For my all thumbs style of opening anything more complicated than a can of beans, this album was a real test for me. It must have caused Virgin Records a series of nightmares that is probably still in their conscious years later.  Minimal with maximum results. 

The music is incredibly touching, I even come to tears time-to-time when listening to "Death Disco" (Swan Lake) and "Poptones."   Who would think a Sex Pistol would draw so many tears on my face? "Death Disco" with it "Swan Lake" melody sneaking into the hard mechanical funk is a wonder.  One of the great meetings between rock and classical music ever.  It's almost like a memory that is too powerful to forget.  For me, the album is about memory and how one digests the pain over the years. In that sense, it reminds me of John Lennon's first solo album "Plastic Ono Band."  Not only in sound, but it's emotion right on the top of the tongue.  

Thanks to Geo Blance, who out of the blue, sent me the new edition of "Metal Box" a few years ago. One of the great gifts ever. 

Scott Walker "Pola X" CD, Album, Soundtrack, 1999 (Barclay)

Scott Walker's film score to Leos Carax's "Pola X" is pretty magnificent.  For one, it's music of great taste.  Walker uses other artists on this score, and his choices such as Sonic Youth and Smog are excellent.  In fact, it's because of this album that I became aware of Smog.  Beyond that, the one cut "Light" may be the most beautiful piece of music from the 20th-century.  The melody is haunted, sad, and perfect for anyone in the loser mode at 3:00 AM.  My urge is to play this song over and over for 24 hours.  Which is not long enough.  

This is an excellent Scott Walker.  It's hard to find, and it really needs to be released.  From industrial to noise to 'that' beautiful work - it's Scott not singing, but clearly his instrumental work is equally as important as his singing or vocal work.   A great album. 

Pierre Henry - "Le Voyage" Vinyl, LP, Album, 1962/2013 (Doxy)

For the past two years, I have been picking up albums by Pierre Henry.  I have a fascination with the nature of electronic music or Musique Concréte.  The 'noise' have called out for me, and it's a hard habit to break.  "Le Voyage" is a big Henry project.  I believe it's music with dance choreographed by Maurice Béjart.  I know very little of this piece except that it's based on The Tibetian Book of the Dead, and it represents from birth to death.  Seems like a topical subject matter for a ballet and its score. 

As far as my ear can tell this is music that is entirely electronic.  No organic sounds processed through electronic means, but machines manipulated by Henry making music.   Some parts are almost ambient but with an intensity where you can't really ignore the music.  Toward the end, it becomes a majestic piece of noise that's an incredible ear wash.  I listened to this vinyl in a room with a very high ceiling, and the music just encaptures the landscape that is the room.  I don't know who Doxy is, although I suspect that this record company takes advantage of copyright laws in Europe. Still, they do a great job in curating album titles with great sound. 

The High Numbers (The Who) "I'm the Face" b/w "Zoot Suit" Vinyl, 7" 33 1/3, Promo (Mercury)

Before The Who, there were The High Numbers.  As far as I know, there are only two songs by The High Numbers, and they are "I'm the Face" and "Zoot Suit."  The Who went on to make great records, but if push comes to a shove, I prefer these early recordings by The High Numbers.  For one, they are strange.  It's RnB but with a druggy sexual edge.   The Who were never sexy to me, but these recordings expose a certain amount of Eros in their mix.  

Both songs were written by their manager at the time, Pete Meaden (1941-1978).  He's considered to be the Mod King.   Druggy with a life that was full of danger, his greatest invention was the early Who.  Both songs capture the Mod aesthetic perfectly.  Tight, controlled, yet bordering on the manic. An excellent record. 

Various - "Twentieth Century Blues: The Songs of Noël Coward" CD, Compilation, 1998 (EMI)

Noël Coward always represent a different time, even a different world to me.  I know his works mostly through his plays because I think they're great.  I was introduced to his music due to the Brit-Pop era.  Who would have thought that Suede would be a perfect vehicle for a Coward song?  The truth is I sort of became fans or at least admired Suede and Robbie Williams due to their work here on this compilation of Noël songs. 

This album is very much a snapshot of the British music world of 1998.  Suede, Williams, Damon Albarn with Michael Nyman, the Pet Shop Boys -it yells out an era to me, that puts focus on another time in music and cultural history.  It's one of the reasons why this is a very good album.   First, of all, it is really truthful to the Coward aesthetic in that all the arrangements on this album are true, not to the times, but the feeling that Noël's songs convey to an audience.   Coward wrote incredible love songs of great yearning, but also to listeners who were going through hard times due to the war and the economy of the World War II years. 

The album is very much of a Neil Tennant (Pet Shop Boys) project.  Not all the songs share the same producer or arranger, but everyone here captures the essence of Coward's work.  The big surprise for me is Robbie Williams' take on "There are Bad Times Just Around the Corner" is uber-pop, but tinged with a large amount of dread and concern.  Yet, like Coward, very uplifting at the same time.  There is something very passive/aggressive about Coward's work.  There are humor and joy but tinged with sadness.  Suede's "Poor Little Rich Girl" actually sounds like a Suede original, in fact, a lot of the songs here are a perfect fit for the artist and song.   Another standout is The Divine Comedy's "I've Been to a Marvellous Party," which turns into a techno workout.  Yet, fits perfectly with the song.  The whole album is very well-thought out, in that it shows the roots of Coward's work in that era's (1998) time.  

Tracklist Hide Credits

1	–No Artist	Introduction Contractor [Orchestral Contractor] – Isobel GriffithsProducer – David Hartley*Vocals – Neil Tennant	1:07
2	–Texas	Parisian Pierrot Engineer – Kenny MacDonaldPerformer [The Band] – Ally McErlaine, Eddie Campbell, Johnny McElhone, Richard Hynd, Sharleen SpiteriProducer – Johnny McElhone	3:39
3	–The Divine Comedy	I've Been To A Marvellous Party Piano – Joby TalbotProgrammed By, Electronics [Electronica] – Steve Hilton*Vocals – Neil Hannon	3:39
4	–Paul McCartney	A Room With A View Engineer – Eduardo PequeñoFeaturing – Slick Willie GuitarPerformer [Band] – Mellow T. Ron And His Mood MenProducer – Paul McCartney	2:07
5	–Pet Shop Boys	Sail Away Engineer, Mixed By – Pete SchwierProducer – Pet Shop BoysProgrammed By – Pete Gleadall	4:31
6	–Shola Ama With Craig Armstrong	Someday I'll Find You Bass – Chris Laurence, Mike BrittainCello – Cathy Giles, Paul Kegg, Tony Lewis (2)Cello [1st] – Martin LovedayContractor [Orchestral Contractor] – Isobel GriffithsEngineer – Andy Bradfield, Rupert CoulsonHarp – Skaila KangaHorns – Hugh SeenanHorns [1st] – Richard WatkinsKeyboards, Programmed By – Stephen HiltonMixed By – Andy Bradfield, Craig ArmstrongMixed By [Assistant] – Ricky Graham (2)Oboe – John Anderson (4)Producer, Arranged By [Orchestra Arranged By], Conductor [Orchestra Conducted By] – Craig ArmstrongProgrammed By [Additional Programming] – Richard NorrisViola – Bob Smissen, George Robertson, Katie WilkinsonViola [1st] – Peter LaleViolin – Alison Kelly, Boguslav Kostecki*, Dave Woodcock*, Dermot Crehan, Mike McMenemy*, Perry Montague-Mason, Peter Oxer, Rolf Wilson, Vaughan Armon*, Wilf GibsonViolin [1st] – Gavyn WrightViolin [Leader Of 2nd Violins] – Roger Garland	3:39
7	–Robbie Williams	There Are Bad Times Just Around The Corner Engineer – Pete GleadallEngineer [Assistant] – Matt GregoryMixed By – Bob KraushaarOmnichord – Brian EnoProducer, Performer [Played By] – Neil Tennant, Pete Gleadall, Tom Stephan	4:36
8	–Bryan Ferry	I'll See You Again Arranged By – Colin GoodEngineer, Mixed By – Ash HowesProducer – Bryan Ferry, Robin TrowerProgrammed By – James Sanger	2:40
9	–Marianne Faithfull	Mad About The Boy Arranged By – Bill GeldardBass – Simon Benson, Tom Martin (2)Bass [Bass Guitar] – Andy PaskCello – Gillian Thoday, Justin Pearson, Michal KaznowskiDrums – Ian ThomasEngineer – Dick Lewsey*Guitar – Colin Green (2)Mixed By – Bob KraushaarPiano – Geoff EalesProducer – Carl DaviesTrombone – Neil SidwellTrumpet – Guy Barker, Simon GardnerViola – Levine Andrade, Roger Benedict, Steven Wright (5)Violin – Chris Bevan, Clive Dobbins, Dermot Crehan, Iain King, Jo Frohlich*, Michael Davis (5), Mike McMenemy*, Pan Hon Lee, Paul Willey, Sue HendersonWoodwind [Reeds] – Dave White, Pete Ripper	5:18
10	–Space (4)	Mad Dogs And Englishmen Performer [The Band] – Frannie Griffiths*, Jamie Murphy, Leon Caffrey, Tommy Scott*, YorkieProducer – Simon Denny, Space (4)Trombone [Session Musician] – Neil SidwellTrumpet [Session Musician] – Steve Sidwell	3:10
11	–Suede Featuring Raissa*	Poor Little Rich Girl Engineer [Assistant] – Ben GeorgiadesEngineer, Mixed By – Bruce LampcovProducer – Bruce Lampcov, SuedeVocals [Guest Vocals] – Raissa*	7:12
12	–Sting	I'll Follow My Secret Heart Engineer, Mixed By – Simon OsbourneHarp – Skaila KangaProducer – David Hartley*, Sting	2:33
13	–Damon Albarn With Michael Nyman	London Pride Arranged By – Michael NymanContractor [Musicians Contractor] – Isobel GriffithsEngineer – Ben Kape, Jason Cox, Tom GurlingPerformer [Musicians] – Michael Nyman Band*Producer – Damon Albarn, Michael Nyman	4:42
14	–Vic Reeves	Don't Put Your Daughter On The Stage Mrs Worthington Arranged By [Strings, Assistant] – Jon BailyArranged By [Strings] – David ArnoldBass [Bass Guitar] – Vic ReevesCello – Anthony Pleeth, Cathy Giles, Dave Daniels*, Paul Kegg, Philip De Groot*, Tony Lewis (2)Contractor [Orchestral Contractor] – Isobel GriffithsDrums, Percussion – Pablo CookEngineer – Neil Tucker, Rupert CoulsonGuitar – Roddy FrameProducer – Antony GennRecorded By [Strings] – Geoff FosterViola – Bill Hawkes, Katie Wilkinson, Peter Lale, Rachel BoltViolin – Benedict Cruft*, Bill Benham, Boguslav Kostecki*, Dave Nolan*, Dave Woodcock*, Dermot Crehan, Eddie Roberts (2), John Bradbury (2), Maciej Rakowski, Mike McMenemy*, Peter Oxer, Rebecca Hirsch, Roger Garland, Rolf Wilson, Wilf GibsonViolin [1st] – Gavyn WrightWritten-By [Music Written By] – Antony Genn, Vic Reeves	4:57
15	–Elton John	Twentieth-Century Blues Alto Saxophone – Jamie TalbotAlto Saxophone [Solo Alto] – Andy MacintoshBaritone Saxophone, Clarinet – Dave BishopBass [First] – Chris Lawrence*Bass Guitar – Steve PearceBass Trombone – Dave Stewart (2)Cello [First] – Anthony PleethContractor [Orchestral Contractor] – Isobel GriffithsDrums – Ralph SalminsFlute – Jamie Talbot, Stan SulzmannMixed By – Bob KraushaarProducer, Piano, Arranged By [Original String Arrangement] – David Hartley*Tenor Saxophone – Iain Dixon, Stan SulzmannTrombone – Mark Nightingale, Peter Beachill*, Richard Edwards (2)Trumpet – Derek Watkins, John Barclay, Steve Sidwell, Stuart BrooksViola [First] – George RobertsonViolin [First] – Gavyn WrightVocals [Intro And Outro Vocals] – Neil Tennant