Mike Barnes

Take the inventive, 'un-linear' musical approach of charismatic frontman Don Van Vliet, add the guitar skills of a youthful Ry Cooder, and you get this groundbreaking 1967 debut album that throws blues, rock, soul, doo-wop and more into the melting pot

Few groups have a history as complex and convoluted as that of Captain Beefheart And His Magic Band, not least because of the tendency of vocalist Don Van Vliet, aka Captain Beefheart, to imaginatively embellish aspects of the story. In that respect we can start right back at the group's name.

This month we review: Lol Tolhurst X Budgie X Jacknife Lee, Emma Anderson, Animal Collective and Catatonic Suns.

This month we review: Unthank : Osees, Deeper, Explosions In The Sky and Hiss Golden Messenger.

Led by singer-songwriter Mike Scott, The Waterboys honed their 'big music' sound on this 1985 album where rock guitars were joined by saxophone, piano and celeste to create an expansive work that was epic yet spiritual, and at times even political...

On the song 'The Big Music', from The Waterboys 1984 album A Pagan Place, Mike Scott sang 'I have heard the big music/And I'll never be the same' – and he wasn't kidding. Nowadays, the 1980s might be more readily associated with glossy, primary coloured pop but it also opened the doors to something quite different – an earnest, yearning, expansive rock music drawn with broad brush strokes, but with enough space for some fine detail. The Waterboys exemplified the desire to make this 'big music', as did contemporaries such as Echo & The Bunnymen, U2, Big Country and Simple Minds.