After making his mark in the late 60s as one of Jamaica’s brightest young instrumentalists, playing drums and guitar on sessions for Studio One operator Coxson Dodd, Filberto ‘Fil’ Phil Calender worked on sessions for many of the island’s leading producers.

He also found time to form The In Crowd, which by the latter half of the 70s provided the primary outlet for his considerable talents as both a musician and songwriter.

In 1978, the septet’s album ‘His Majesty Is Coming’ broke the group in the UK, with the collection swiftly becoming a must-have purchase for all self-respecting British fans of roots reggae. Over the years that immediately followed, Calender and the In Crowd cut a succession of beautifully crafted singles, including ‘We Play Reggae’, ‘Back A Yard’, ‘Born In Ethiopia’, ‘Man From New Guinea’, ‘Marcus Garvey’s Back In Town’, ‘Baby My Love’, and ‘Getting Cozy’, with the popularity of these works prompting a best-selling follow-up LP, ‘Natural Rock ‘n’ Reggae’, released by Creole Records in the early 80s.

The album proved to be their final major work, with The In Crowd disbanding soon after, their break-up in part to Calender deciding to concentrate on gospel material.

Surprisingly, much of the band’s output, including the ‘Natural Rock ‘n’ Reggae’ album have remained unavailable since originally being released on vinyl - an oversight that has finally been remedied with this triple disc set which comprises the entirety of their work from 1977 to 1984.

Disc One:
1. Introducing Little Dread 2. Dedicated To Jah 3. Man From New Guinea 4. Rasta Man No Evil 5. Daughter Child 6. Reggae Groove 7. Love Dance 8. Give Us More Time 9. His Majesty Is Coming 10. Born In Ethiopia 11. Back A Yard 12. We Play Reggae 13. Milk And Honey 14. Power Of The Spirit 15. Slave Ship 16. Baby My Love 17. Getting Cozy

This effective new box-set opens on the smoothly grooved Introducing Little Dread, the blessed vibes of Dedicated To Jah, the rhythmic Man From New Guinea and the feelgood Man From New Guinea and then we get the jaunty bounce of Rasta Man No Evil, the smooth dread of Daughter Child, the pop-flow of Reggae Groove and then both the impassioned Love Dance and the soulful Give Us More Time.

Along next is the majestically natty sounds of His Majesty Is Coming, one of the best reggae tunes ever made Born In Ethiopia, the spiritually rich, Pan African Back A Yard and the gorgeous We Play Reggae, and they are in turn backed seamlessly by the effective Milk And Honey (a classic later redone by the Crown Prince of Reggae), the roots track Power Of The Spirit, the atmospheric Slave Ship, the impassioned Baby My Love, the first disc closing on the harmonically unmatched Getting Cozy.

Disc Two:
1. Beg You A Ten Cent 2. More Employment 3. Let’s Go To The Party 4. A Little Bit Of Reggae 5. You Facey Whitey 6. Riding High 7. Time Is Running Out 8. Marcus Garvey’s Back In Town 9. No Money 10. Island Music 11. It’s Late 12. Sweet Man 13. In My Arms 14. Jah Will See You Through 15. Lady That I Know 16. Gamesta

The second disc opens on the sweetness of Beg You A Ten Cent, the dulcetly toned More Employment and the beautiful reggae sway of Let’s Go To The Party and then we get the gently dup-step bounce of A Little Bit Of Reggae, the quietly strident You Facey Whitey, the vibing Riding High, with the solid tune Time Is Running Out and the melodious Marcus Garvey’s Back In Town along next.

Up next is the rhythmic beauty No Money, the soothing sounds of Island Music and the rootsy vibe of It’s Late and they are in turn neatly followed by the sheer coolness of Sweet Man, the ambient bliss of In My Arms and the simply wonderful Jah Will See You Through, the disc rounding out on the summery Lady That I Know and the full-on dub-hip bounce of Gamesta.

Disc Three:
1. Weep Little Girl 2. Life 3. Rub A Dub Time 4. Add A Little Light 5. Honey Bee 6. Distant Star, Distant Love 7. Would You Like To Be Loved 8. Shoot Up The Town THE INCROWD IN DUB: 9. His Majesty Is Coming (Part 2) 10. Ethiopia aka Born In Ethiopia Version 11. We Play Reggae Part 2 12. A Little Bit Of Reggae Part 2 13. Riding Version aka Riding High Version 14. Yard aka Back A Yard Version 15. Dub In Love aka Would You Like To Be Loved Version 16. Shoot Up The Town Version

The third, and final disc opens on the low slung Weep Little Girl, the emotive Life, the mid-tempo grooves of Rub A Dub Time and the masterpiece Add A Little Light, and then we lovingly get brought forth the soulful Honey Bee, the rhythmic roots of Distant Star, Distant Love, the mid-tempo, coolness personified of Would You Like To Be Loved and the punchy rhythms of Shoot Up The Town; with the final eight tracks being the brilliantly crafted The In Crowd In Dub mixes.

Official 3CD Box Set Purchase Link

Funnily enough, as vital, timely and moving as their new album Liberty Now! is, nonetheless, it was not the album that drummer Phil Haynes and his string band Free Country intended to make when they entered the studio last December.

“After the American Trilogy recordings, plus our live record, I felt like the band was done,” Haynes explains. “Yet the sound of Free Country and the chemistry that the four of us shared never left me. I thought about what I would want to do if we ever made another record, and I knew it would have to be our own originals.”

“Each of these terrific musicians are lovely and very personal composers, and when a band comes together with this much chemistry, mutual love and respect, you write, arrange and contribute material very differently.”

Their music gained additional urgency and profundity that the band couldn’t have foreseen when they wrote and selected the compositions for the album. The first was the dire outcome of the 2024 U.S. presidential election just a month prior to the date. The second was the death of the revered trumpeter Herb Robertson, a close friend and collaborator of everyone in Free Country – the news of which reached them at the very moment they were entering the studio.

CD 1:
1. Situation Ethnics
2. Past Time
3. Strands of Liberty
4. Higgens
5. Diaphana
6. Confetti
7. Corner Store Strut
8. Joy
9. Next of Kin
10. The Wire
11. Home Road
12. Dawn on the Gladys Marrie

The 25 year NYC veteran drummer, composer and bandleader of singular voice and stirring stylistic range opens this brand new double album on the rhythmic elegance of Situation Ethnics, the emotive Past Time and the organically jagged Strands of Liberty, and they are backed by the languishing beauty of Higgens, the playfully flirtatious Diaphana, and the low slung soft shuffle of Confetti.

Along next is the more strident fare of Corner Store Strut, the emphatic Joy and a beloved preciseness within Next of Kin, which are in turn followed by the organically scratchy The Wire, a yearn that threads throughout the grandeur of Home Road and one of my own personal favorites, the beautiful embodying of Dawn on the Gladys Marrie.

CD 2:
13. The Way the West was Won
14. She’ll be Coming ’Round the Mountain
15. Revolution
16. Dakota Hymn
17. Johnny Guitar
18. Joshua Fought the Battle of Jerico
19. Simple Gifts
20. Respect
21. What’s Goin’ On
22. To Anacreon in Heaven
23. The Defense of Fort McHenry
24. America the Beautiful
25. Fanfare for the Common Man
26. What a Wonderful World

The second disc begins with the fervent nature of The Way the West was Won, a resoundingly absorbent She’ll be Coming ’Round the Mountain and a joyful rendition of the Beatles’ Revolution and then we get the atmospherically-charged, at times spoken word Dakota Hymn, the low slung vocalizations of Johnny Guitar, and the drum-led Joshua Fought the Battle of Jerico.

We then get brought forth the skittish, yet controlled Simple Gifts, a robust cover of Aretha’s Respect and a lush cover of Marvin’s What’s Goin’ On, before the acoustically harmonized To Anacreon in Heaven is shone brightly, itself backed by the charged fare of The Defense of Fort McHenry, the peacefully atmospheric America the Beautiful, the set rounding out on a rousingly drum-led Fanfare for the Common Man, closing on the smooth ease of a reinterpreted rendition of Louis Armstrong’s What a Wonderful World.

Political awareness is certainly nothing new to the Free Country four. There is a strong undercurrent of social consciousness threaded throughout the band’s work, which Haynes wanted to underline. He decided to pair the new recordings with an album-length compilation of the most pointed cuts from the quartet’s catalogue, crafting an American history lesson in song.

“We’ve been thinking about these issues for a long time,” Haynes says. “I thought this music might offer everyone some solace and courage to live through this period and find ways to do things that might have a positive impact.”

Official Purchase Link

www.philhaynes.com

Blues Hall of Fame vocalist Jimmy Witherspoon teamed up with guitar hero Robben Ford at Hollywood’s famed Troubadour in March of 1972.

This never-before-released radio broadcast performance features nine tracks, including three Witherspoon originals plus classic songs from Willie Dixon, Sonny Boy Williamson, and Lieber and Stoller.

This is one of the earliest recordings of Ford’s extraordinary career, starting back in 1970 with Charlie Musselwhite and Witherspoon before joining Tom Scott’s L.A. Express. He went on to shred with Steely Dan, Kiss, Yellowjackets, Miles Davis and lead on 25 of his own albums.

Blues vocalist Jimmy Witherspoon and blues guitarist Robben Ford are at the peak of their performing career during this 1972 recording, backed by a young but enthusiastic electric band that Witherspoon had recruited after hearing them open for him in a club the previous year.

With a fresh, young band in tow, one that was designed to capitalize upon the electric blues resurgence that had occurred in those years, Witherspoon delivers a set list that ran the gamut from his early hit single Ain’t Nobody’s Business to a stampeding cover of the Jerry Leiber-Mike Stoller composition Kansas City.

Witherspoon is in a playful mood, frequently speaking to the audience. The set is filled with several other of Witherspoon’s most popular numbers, including Past Forty Blues, My Babe and Spoonful.

1. Don’t Start Me Talkin’
2. Ain’t Nobody’s Business
3. My Babe
4. Spoonful
5. Past Forty Blues
6. Kansas City
7. Nothing’s Changed
8. Around The Clock
9. Goin’ Down Slow

This previously unreleased concert performance opens on the low-slung blues of the catchy Don’t Start Me Talkin’ and then take it down a few notches for the Gospel ballad Ain’t Nobody’s Business, the mid-tempo blues-rock of My Babe and Spoonful, where Robben really rips it up during his solo.

Along next is the vintage, low key yet emotive blues of Past Forty Blues which is in turn by the stridently rhythmic Kansas City, a smooth Nothing’s Changed (another cut where Robben is just playing his heart out), the set rounding out on the melodious Around The Clock, closing all-too-soon on the impassioned balladry of Goin’ Down Slow.

www.liberationhall.com

Immerse yourself in the sound world of Fifth Element, the new project from Jee & Bee. This album deftly fuses punchy rhythms with haunting melodies, offering a musical experience that is both innovative and captivating.

Each track is a bold exploration of emotions and sounds, reflecting the duo’s creativity and complicity. Fifth Element is not just an album, it is an invitation to a sensory journey where each note tells a story.

Released on Jean Pierre Llabador’s record label, Castle Records, this new collection is simply incredible and perfect for fans only now discovering the French guitar legend Bernard Margarit.

1 – Jumping Frog
2 – Ganesha Mantra
3 – SPZ Market
4 – Song For Mom
5 – Fifth Element

This richly-hued, and resoundingly ambient new 5-track, 20-minute mini-album is one that if you are a big fan of World Music, and in particular one served with a sumptuous serving of Indian heritage heart, than this is for sure the recording you have been missing from your 2025.

The first track is the joyful and sunshine-hued Jumping Frog and then come the Indian disco-beats that drive Ganesha Mantra (itself a tribute to the beloved elephant-headed Hindu god of wisdom, new beginnings and luck), the beautiful swirling ambiance of SPZ Market, the set rounding out on the atmospherically-charged, driven Song For Mom, coming to an all-too-soon close on the buoyantly sculpted title track Fifth Element

Musicians:
Bernard Magarit - Guitar
Joyeeta Sanyal - Sitar
Fred Martin - Keyboards, Programation, Recording & Mixing
Christophe Hénault - Mastering
Tania Margarit - Voices on Ganesha Mantra and Fifth Element

Official Purchase Link

Jee & Bee @ Facebook

New Hampshire–based guitarist, multi-instrumentalist, and composer Randy Armstrong earned critical acclaim for his 2017 album, The Conference of the Birds as well as his 2015 collaboration with Volker Nahrmann, Beyond Borders.

Now, in 2025 — after releasing several albums for Kitaro’s DOMO Records — Randy returns with what may be his finest solo work to date Echoes Of Tomorrow.

In contrast to the multi-faceted Conference Of The Birds, which featured numerous guest artists, Echoes of Tomorrow is very much a personal statement — a guitar lover’s dream.

Entirely instrumental, the album blends New Age, Jazz, World Fusion, Americana and Folk, with each track drawing seamlessly from all of these influences.

Echoes of Tomorrow offers heartfelt, restful and meditative music. In addition to mostly original compositions, the album includes two unexpected covers: Keith Jarrett’s “Memories Of Tomorrow” (1975) and a fresh interpretation of an excerpt from Finlandia, composed by Finnish classical icon Jean Sibelius in 1899.

This 11-track CD, LP and DL was released in 2025 on Randy’s own UMP Records (Unu Mondo Productions LLC).

1. Choosing Love
2. Courage
3. Gratitude
4. Forgiveness
5. Compassion
6. Together
7. Memories Of Tomorrow
8. Finlandia – Song Of Peace
9. Ode To Sibelius
10. Light Of Unity
11. Born In Appalachia

This personal statement of a guitar lover’s dream, one much akin to the likes of Pat Metheny, opens on the resplendent Choosing Love and the rhythmical drum-imbibed Courage and then we get the lushly smooth Gratitude, the quietly atmospheric Forgiveness and the dulcetly free-flowing Compassion.

Along next is the window leaning, summer’s breeze of Together which is itself followed in turn by the more pronounced fare of Memories Of Tomorrow, a dutifully embraced Finlandia – Song Of Peace, a stunningly melodious Ode To Sibelius, the set rounding out on the breezy Light Of Unity, closing on the elegantly structured Born In Appalachia.

While Randy Armstrong is often regarded as a global music ambassador — performing on guitars and diverse instruments from around the world — Echoes of Tomorrow takes a more direct, stripped-down approach. Without the sprawling concepts of his earlier albums, his lyrical guitar work shines with clarity.

Crisp melodies, intricate arrangements and emotional depth make this album a must-listen for both longtime fans and instrumental guitar enthusiasts.

Official Purchase Link

www.randyarmstrong.com

For those unaware, Zohar Amar Mokady is a musician, saxophonist, composer and arranger, and experienced music teacher/educator who recently graduated with honors from the new school university for jazz and contemporary music.

Indeed the NYC-based multi-instrumentalist (saxophone and piano) is not only fresh out into the world with his Bachelor’s and Master’s degrees but has just released his brand new 4-track EP entitled Zoheart.

Based in jazz, and yet reflective of a widespan of cultures and compositional travels, Zohar has brought forth a simply magnificent recording that fully deserves all the high praise and accolades that it has already received within the press.

1. All I Want
2. The Blind Man From Kookoorook
3. Alon Benjamini (feat. Ingrid Jensen)
4. Dream Piano (Bonus)

This absolutely beautiful, at times veritable transcendent new recording opens on the shimmeringly summer’s day, window leaning vocalized track All I Want and follows that up with the smooth jazz-centric delights of The Blind Man From Kookoorook, before we are gifted the flourishingly resplendent Alon Benjamini (featuring Canadian jazz trumpeter Ingrid Jensen), the EP closing all-too-soon on the stridently impassioned, short but sweet bonus track Dream Piano.

Official Spotify Purchase Link

For those not in the know, Omnivore Recordings has announced seven Françoise Hardy album reissues taken from the recently released Françoise Hardy Blues: Complete Vogue Recordings 1962-1967, a complete collection of all the recordings Hardy did for Vogue. Each album features exclusive bonus tracks on CD and special colored vinyl.

The albums from the Complete Vogue Recordings collection that will remain exclusive to the box set are the 3-LP Remix Album, Lost And Found – Rare Recordings 1961-1967, as well as the DVD which features more than 55 TV performances.

The set as a whole includes 217 newly remastered tracks, 106 of which are available for the first time since their original ’60s release date, 10 live tracks recorded at L’Olympia in Paris restored as well as a 24-page book featuring rare pictures, documents, and liner notes in English and French.

Françoise Hardy’s Vogue years have marked the history of French and international music. Even today, the five years between 1962–67 remain an exceptional moment in her career, the one when she exploded in the eyes of a generation that was born during or just after World War II, the generation that would be part of the May 1968 Paris protests.

Hardy exploded not only in France alongside her fellow “Yéyés,” but also internationally where she became the symbol of French elegance, talent and charm. From the United States, Japan, United Kingdom, Germany, Italy, and Spain, no one could resist Françoise. She recorded most of her hits in English, Italian, and German.

Tous Les Garçons Et Les Filles (1962)
1. Tous Les Garçons Et Les Filles 2. Ça A Raté 3. La Fille Avec Toi 4. Oh Oh Chéri 5. Le Temps De L’amour 6. Il Est Tout Pour Moi 7. On Se Plaît 8. Ton Meilleur Ami 9. J’ai Jeté Mon Coeur 10. Il Est Parti Un Jour 11. Je Suis D’accord 12. C’est `A L’amour Auquel Je Pense 13. Ça A Raté (Live in Paris 2/3/1963) [Bonus Track] 14. J’ai Jeté Mon Coeur (Live in Paris 2/3/1963) [Bonus Track] 15. J’suis D’accord (Live in Paris 2/3/1963) [Bonus Track] 16. Ton Meilleur Ami (Live in Paris 2/3/1963) [Bonus Track] 17. Présentation Des Musiciens (Live in Paris 2/3/1963) [Bonus Track] 18. Le Temps De L’amour (Live in Paris 2/3/1963) [Bonus Track]

Hardy exploded not only in France alongside her fellow “Yéyés,” but also internationally, where she became the symbol of French elegance, talent and charm. The United States, Japan, United Kingdom, Germany, Italy, Spain—no one could resist Françoise, who recorded most of her hits in English, Italian, and German.

Tous Les Garçons Et Les Filles is an album that combines elements of rockabilly, folk, jazz and blues. Although the album followed the formula of the yé-yé movement—characterized by attractive teenage girls singing innocent pop songs about adolescence—Hardy set herself apart from her peers by writing most of her own material.

For me, Tous les garçons et les filles is the most charming of debuts from the iconic Françoise Hardy, launching her domination of the 1960’s French music scene. Like many of her releases, the album was released with no official title and has since come to be referred to by the title of its most popular song.

I cannot help but find it amusing that Hardy did not name most of her albums and just lets her listeners scramble to describe which of her albums they are referring to. While her debut certainly leans more heavily into mainstream pop sounds of the 1960’s, the vibes of this album are simply impeccable.

That being said, while not a black sheep of the French pop scene, Hardy noticeably distances herself from the oftentimes male-gazey image of other female pop artists of her time.

Unlike most of her peers, Hardy wrote most of her own material, allowing for a distinctly feminine perspective on topics that could have otherwise been used to twist her into nothing more than a kitchy girl singing about wanting to be with an older man.

While her music is primarily concerned with love, it is devoid of an older, male influence, giving her discography a more lasting and timeless feel.

While nothing remarkably groundbreaking, the simplicity of the album’s production is impressive; every aspect, from the subtle jazz influences to the minimalist rockabilly motifs, elevates this album above the rest of the more bombastic pop scene. The opening and now title track, “Tous les garçons et les filles,” is now one of the most iconic French songs, embodying everything great about France’s yé-yé era.

Le Premier Bonheur Du Jour (1963)
1. Le Premier Bonheur Du Jour 2. Va Pas Prendre Un Tambour 3. Saurai-je? 4. Toi Je Ne T’oublierai Pas 5. Avant De T’en Aller 6. Comme Tant D’autres 7. J’aurais Voulu 8. Nous Tous 9. L’amour D’un Garçon 10. Le Sais-tu? 11. L’amour Ne Dure Pas Toujours 12. On Dit De Lui 13. L’amour S’en Va [Bonus Track] 14. Je Pense À Lui [Bonus Track] 15. Qui Aime T-il Vraiment [Bonus Track] 16. Bien Longtemps [Bonus Track] 17. Le Temps De L’amour (Alternate Version) [Bonus Track]

On Hardy’s second album she teams with Marcel Hendrix as arranger and producer resulting in an album with a broader and more international feel. While a number of the songs here were composed by outside songwriters, Françoise shows here great songwriting ability on the majority of the album’s songs.

Le premier bonheur du jour has become my personal soundtrack for road trips through the countryside, a laidback warm summer evening, or just takes a seat as a companion when needed. The album is filled with joyous melodies and ballads, just listen to the instrumental on “L’amour ne dure pas toujours” or the ‘wop doo wops’ on “On dit de lui” and try to resist its charm.

Practically every song has its own individual elegance and delicate allure, things start off at an absolute peak in the title track and the experience remains charming and enthralling all the way through to its conclusion in “On dit de lui”. Bob Dylan wrote her love letters after seeing her perform live during this era of her career ... and I don’t blame him.

Mon Amie La Rose (1965)
1. Je Veux Qu’il Revienne 2. Tu N’as Qu’un Mot À Dire 3. Tu Ne Dis Rien 4. Et Même… 5. Pourtant Tu M’aimes 6. Pars 7. Je N’attends Plus Personne 8. La Nuit Est Sur La Ville 9. Pas Gentille 10. Dans Le Monde Entier 11. Nous Étions Amies 12. Mon Amie La Rose 13. Jaloux 14. On Se Quitte Toujours [Bonus Track] 15. C’est La Première Fois [Bonus Track] 16. Et Même… (Single Version) [Bonus Track] 17. Tout Me Ramène À Toi [Bonus Track] 18. C’est Le Passé [Bonus Track] 19. Apprends-le Moi [Bonus Track] 20. La Nuit Est Sur La Ville (Live Paris 8/1/1965) [Bonus Track] 21. Mon Amie La Rose (Live Paris 10/12/1965) [Bonus Track] 22. Dans Le Monde Entier (Live Paris 8/1/1965)

Working with arranger Charles Blackwell, a former protégé of Joe Meek, Françiose wrote the majority of the album’s songs herself. This edition also includes ten bonus tracks, among them three live recordings.

This is one of the best pre-1965 records I have ever heard and comfortably stands alongside the vanguard of what was being produced at the time, especially in the pop sphere. This was made in a world before Rubber Soul, Pet Sounds, and The Velvet Underground, and yet it somehow echoes the innovations that were yet to come. It is tastefully experimental, and in this experimenting, it nailed the direction that popular music would take in the next decade. I listened to tracks such as the opening “Je veux qu’il revienne” with my jaw on the floor. It is quite simply not how music sounded in 1964. I can’t even explain what is happening with the bassline and the percussion -- just so unusual. Another moment that had me nearly on the floor is the electric guitar in “Je n’attends plus personne”. It is easily 5 years ahead of its time. And 5 years in music in 60’s is like a lifetime.

Her career spanned five decades, releasing over 30 studio albums, but here Hardy’s singing is unique and timeless. She effortlessly carries the record and displays a nice variety throughout while keeping her authenticity. “La nuit est sur la ville” is a real highlight, but really she never falters, with charismatic performances from start to finish.

L’amitié (1963)
1. Ce Petit Coeur 2. Il Se Fait Tard 3. Tout Ce Qu’on Dit 4. Tout Ce Qu’on Dit 5. En T’attendant 6. Je T’aime 7. Non Ce N’est Pas Un Rêve 8. Quel Mal Y A-t-il À Ça? 9. Tu Peux Bien 10. Le Temps Des Souvenirs 11. Je Pensais 12. Dis-lui non 13. Tu Es Venu À Moi [Bonus Track] 14. Son Amour S’est Endormi [Bonus Track] 15. J’ai Bien Du Chagrin [Bonus Track] 16. Tu Ne M’attendras Pas [Bonus Track] 17. Bout De Lune [Bonus Track] 18. L’amitié (Live at l’Olympia 31 October 1965) [Bonus Track]

Working with arranger Charles Blackwell, a former protégé of Joe Meek, Françiose and producer Jacques Wolfsohn Françoise writing and status continued to grow with this, her fifth studio album. Now including 6 non-album bonus tracks, including “L’amitié” recorded live in Paris.

Most of the songs teetered on either side of the two-minute mark – the longest being the three-minute Blackwell-penned “Non Ce N’est Pas Un Rêve,” a Spector-like melodrama that Samantha Jones had recorded as “Don’t Come Any Closer.” Elsewhere, fuzzy guitar, probably played by a young Jimmy Page, turned “Tout Ce Qu’on Dit” into a Four Seasons-ish rocker, while “Je T’Aime” nodded to the early English beat sound.

Soft ballads, like the introspective “Je Pensais” and airy “Il Se Fait Tard” rested perfectly alongside the passionate doo-wop of “Dis Lui Non” and folkish title track. It was an absolute masterpiece from beginning to end and now that all the tracks have been fully remastered, new bonus cuts galore added, well, this is an amazing musical experience.

La Maison Ou J’ai Grandi (1966)
1. Je Dhangerais D’avis 2. Si C’est Ça 3. Rendez-vous D’automne 4. Je Serai Là Pour Toi 5. Peut-être Que Je T’aime 6. Il Est Des Choses 7. Comme 8. Mes Jours S’en Vont 9. Qu’ils Sont Heureux 10. Surtout Ne Vous Retournez Pas 11. Tu Es Un Peu À Moi 12. La Maison Où J’ai Grandi 13. Tu Verras [Bonus Track] 14. Je Ne Suis Là Pour Personne [Bonus Track] 15. Laisse-le Moi [Bonus Track] 16. Si C’est Ça (EP Version) [Bonus Track] 17. Les Petits Garçons [Bonus Track] 18. Au Fond Du Rêve Doré [Bonus Track] 19. Si C’est Ça (Live at l’Olympia 28 January 1967) [Bonus Track]

In typical fashion of Françoise in the 60’s - an excellent interpreter of the orchestral heavy songs of the day - here we find 5 of the 12 tracks (from the original tracklisting) inclusive of as other songwriters including Ennio Morricone on the opener Je changerais d’avis based on his track, Se Telefonando and such.

The remaining original 7 tracks are self-penned and include the more restrained yet no less stirring Si C’Est Ça and Tu Es Un Peu À Moi, both of which, and much like the entire album, are a perfect rainy day accompaniment.

Hardy’s strength at the microphone never gets misplaced, and her songs, especially the back-to-back Je serai là pour toi and Peut-être que je t’aime, are total gems. The dips into rock ‘n’ roll, girl group, and soul action are absent but not really missed as La maison où j’ai grandi culminates a particularly fertile stretch of creativity.

This reissue includes 7 non-album bonus tracks, including “Si C’est Ça” recorded live in Paris.

Canta Per Voi In Italiano (1963)
1. L’età Dell Amore (Le Temps De L’amour) 2. Il Tuo Migliore Amico (Ton Meilleur Ami) 3. E’ All’amore Che Penso (C’est À L’amour Auguel Je Pense) 4. Una Ragazza Come Le Altre (Comme Tant D’autres) 5. Quelli Della Mia Età (Tous Les Garçons Les Filles) 6. L’amore Va (L’amour S’en Va) 7. Ci Sto (J’suis D’accord) 8. Per Tanto Tempo (Bien Longtemps) 9. Oh Oh Chéri (Italian Version) 10. Vorrei Capirti (Saurais -Je?) 11. Il Saluto Del Mattino (Le Premier Bonheur Du Jour) 12. Vorrei Esser Lei (J’aurais Voulu) 13. La Tua Mano 14. Devi Ritornare (Je Veux Qu’il Revienne) 15. La Notte Sulla Città (La Nuit Est Sur La Ville) 16. Parlami Di Te 17. Nel Mondo Intero (Dans Le Monde Entier) 18. Ci Sono Cose Più Grandi (Il Est Des Choses) 19. Non Svegliarmi Mai (Non, Ce N’est Pas Un Rêve) 20. Il Ragazzo Della Via Gluck (La Maison Où J’ai Grandi) 21. I Sentimenti (Et Même) 22. Gli Altri (Voilà)

This was Hardy’s brilliantly inventive 1963 album where she sings her hits in Italian. It was a truly sweet counterpart to her classic French debut, featuring a charming mix of re-recorded Italian versions of her French songs and additional tracks.

Indeed, the album was part of a strategy to reach an international audience and features her classic 1960’s pop style in a new language. It includes Italian versions of hits like Tous Les Garçons Et Les Filles (Quelli Della Mia Età) and Le Temps de l’amour (L’età Dell’amore), alongside other tracks recorded for the Italian market.

In Deutschland (1965)
1. Wenn Dieses Lied Erklingt 2. Frag Den Abendwind 3. Dann Bist Du Verliebt 4. Ein Fenster Wird Hell (Dans Le Monde Entier) 5. Er War Wie Du 6. Wer Du Bist 7. Ich Hab Das Glück (J’aurais Voulu) 8. Ich Sag Ja (J’suis D’accord) 9. Peter Und Lou (Tous Les Garçons Et Les Filles) 10. Die Liebe Geht (L’amour S’en Va) 11. Ich Steige Dir Auf’s Dach 12. Oh Oh Chéri (German Version) 13. Ich Bin Nun Mal Ein Mädchen (Pourtant Tu M’aimes) 14. Die Andere (Et Même)

In Deutschland is a collection of Hardy’s German-language studio recordings, which highlights her international success in the 1960’s, particularly in Germany. It really does have some value as a comprehensive look at her German work as it features some truly exquisite musical works on it.

Indeed, the recordings are noted for showcasing her ability to adapt and translate her hits, becoming a symbol of French talent abroad, alongside her growing artistic independence from the period.

Furthermore, the compilation includes tracks from a period where she was asserting more control over her music and style, even as she navigated legal and commercial pressures with her label.

Albums / Release Dates:
September 12th, 2025
Tous Les Garçons Et Les Filles [CD / Opaque Yellow LP]
Le Premier Bonheur Du Jour [CD / Opaque Red LP]
Mon Amie La Rose [CD / Opaque Orange 2-LP]

October 17th, 2025
L’amitié [CD / Opaque Blue LP]
La Maison Où J’ai Grandi [CD / Opaque Brown LP]

December 12:
In Deutschland [CD / Opaque Ivory LP]
Canta Per Voi In Italiano [CD / Opaque Green 2-LP]

Official Omnivore presents Françiose Hardy on colored Vinyl and CD Video

Official Françoise Hardy Albums Purchase Page

The Smashing Pumpkins have just released the long-awaited reissue and reformation of their 2000 masterpiece, Machina/The Machines of God, and its companion album, Machina II/The Friends & Enemies of Modern Music.

This reimagined project, featuring extensive remixing and remastering, is available in multiple formats now via UMe and through Madame Zuzu’s Tea Shop.

Billy Corgan’s Madame Zuzu’s tea shop in Highland Park, IL is exclusively offering an expansive 80-song vinyl box set featuring a 48-track MACHINA plus an additional 32 bonus tracks of demos, outtakes, and live performances, marking the first time these two records will officially be united. This vinyl box set is the only format available to listen to all 80 songs in its entirety.

Additionally, the rock band has released a 16-song reissue of the original Machina/The Machines of God vinyl. UMe will also be releasing various 25th-anniversary remastered formats of Machina/The Machines of God, including a black 180g 2LP vinyl reissue; a 180g limited-edition color 2LP in corona red/black, as well as CD and digital formats, which are all available now.

“It’s taken some 25 years to finally release MACHINA as we in the band had hoped it would be, and with MadameZuzus.com as the only place one can get this expansive, 80-song collection, I personally could not be more proud,” said Corgan “MACHINA was meant as our swan song, and it was truly a labor of love to bring it to fruition, however broken we were back then. But with the band about to embark on a global tour in 2025, as well as my solo tour with The Machines of God, this set stands as a celebration and testament of will, for the songs alone have helped James, Jimmy, and I keep the faith.”

In truth, I feel like this album gets hated on quite a bit, and very unfairly. I men, sure, it does have its share of lesser-than-great songs, but I never found it as bad an album as the noise has claimed it to be over the years.

Overall it is a very solid recording overall. The production is truly excellent and sure, lyrically it has some of Corgan’s worst tendencies to overwrite pretentious, rambling nonsense, but it you give it a few listens, give it time to all sink in, shut out the critical noise, there are wonderfully melodic songs here.

From the beautiful shimmering chorus on The Everlasting Gaze, to the futuristic groove of Raindrops and Sunshowers, going into what is in my opinion one of the most romantic songs ever written Stand Inside Your Love, to the lonely sadness of I of the Mourning, to the quiet serenity of The Sacred and Profane, then into the heartbreak of Try, Try, Try, followed by the distorted and robotic Heavy Metal Machine (friggin awesome riff), to watching everything fall apart on This Time, leading into to the crunch of the Imploding Voice, heading into the prog rock of Glass and the Ghost Children (Jimmy killing it here), then going into the apocalyptic vision of Wound, then into the weirdly menacing Crying Tree of Mercury, followed by the gorgeously hopeful With Every Light, back into another apocalyptic landscape with Blue Skies Bring Tears, and then ending the youthful perseverance of Age of Innocence, Billy was going for something as big as Mellon Collie and even though his vision wasn’t completely realized, what we got was something incredibly special.

And now having listened to it all via an advance copy of the 180g limited-edition color 2LP in corona red/black (which is itself a sight to behold on the turntable), Machina and Shiny and Oh So Bright, Vol. 1 have always seemed like siblings to me. One day I will figure out a way to blend those albums together. The guitar sound is really similar, but that aside, and for me, With Every Light and This Time are the hidden gems on this brilliant album.

Side A:
1. The Everlasting Gaze
2. Raindrops + Sunshowers
3. Stand Inside Your Love
4. I Of The Mourning

Side B:
1. The Sacred And Profane
2. Try, Try, Try
3. Heavy Metal Machine
4. This Time
5. The Imploding Voice

Side C:
1. Glass And The Ghost Children
2. Wound
3. The Crying Tree Of Mercury

Side D:
1. Speed Kills
2. Age Of Innocence
3. With Every Light
4. Blue Skies Bring Tears

www.madamezuzus.com

Official Purchase Links

The Smashing Pumpkins @ Facebook

Musicians make albums every day, but statements come along far less often. With his latest release, Reflections on: The Autobiography of an Ex-Colored Man (releasing October 10th, 2025), tenor saxophonist Mark Turner has crafted a magnum opus deeply personal and macrocosmic in its exploration of social issues.

Turn is widely heralded as one of the most important musicians of modern jazz, with The New York Times calling him “possibly jazz’s premier player” and instrumental peers lavishing him with praise, such as Ravi Coltrane (“I think Mark Turner is one of the most important players that has come along in the last 20 years, easily the most influential”) and Miguel Zenon (“One of the things that jumps out is just his range, the way he plays the altissimo. Even when I heard him the first time, that jumped out, because it’s not usual - maybe now it is, but then it wasn’t”).

The seeds of this project go back two decades to when Turner undertook an autodidactic review of African-American history. Visiting the Schomburg Center for Research in Black Culture in Harlem, he came across a rack of essential history books.

Among them was The Autobiography of an Ex-Colored Man by James Weldon Johnson, the seminal Civil Rights activist, diplomat and professor who, amongst his many accomplishments, is known for writing - in collaboration with his composer brother J. Rosamond Johnson - “Lift Every Voice and Sing” considered to be the Black National Anthem.

1. Movement 1. Anonymous
2. Movement 2. Juxtaposition
3. Movement 3. Pulmonary Edema
4. Movement 4. New York
5. Movement 5. Europe
6. Movement 6. The Texan...The Soldier
7. Movement 7. Mother...Sister...Lover
8. Movement 8. Pragmatism
9. Movement 9. Identity Politics
10. Movement 10. Closure

Cited as one of modern jazz’s most influential saxophonists, this wondrously crafted new recording opens on the tentative Anonymous and the more forthright, confident Juxtaposition, and then we get the effortless gaze of Pulmonary Edema, a clearly impassioned New York, before the veritably shimmering Europe is brought forth.

Up next is the emboldened The Texan...The Soldier which is then backed seamlessly by the smolderingly elegant Mother...Sister...Lover, the resoundingly decadent Pragmatism, the set rounding out on the sturdy rhythmic timbre of Identity Politics, closing on the organically cobbled Closure.

Musicians:
Mark Turner - Tenor Sax & Narration
Jason Palmer - Trumpet
David Virelles - Piano, Profit & Organ
Matt Brewer - Acoustic & Electric Bass
Nasheet Waits - Drums

Official Purchase Link

Mark Turner @ Instagram

Swiss pianist and composer Sylvie Courvoisier has been a defining figure on the contemporary jazz scene for 20 years and is at the epicentre of the New York music scene.

Having just been awarded the prestigious Swiss Grand Prize for Music 2025, she now presents her duo album with the legendary Wadada Leo Smith.

This follows the recent acclaimed release of her solo album To Be Other-Wise and the atmospherically multi-layered sextet album Chimaera.

An exceptional musician, Smith is always at the pulse of the times, celebrating musical diversity and creativity and speaks out against any labelling of his work. He has helped shape the development of music in various contexts over the last 50 years.

Angel Falls (due out October 3rd, 2025) exudes the magic of musical freedom, possesses an astonishing immediacy, and has a captivating sense of dazzling sound architecture. “They both sound great. They complement each other without resorting to obvious moves. There is no ‘comping’, no showmanship, just a constant feeling of continuous calibration, quirky elements that are somehow perfectly balanced. How do they do it?” writes John Sharpe in the liner notes.

1. Olo’Upnea and lightning
2. Naomi Peak
3. Whispering Images
4. A Line Through Time
5. Vireo Bellii
6. Angel Falls
7. Sonic Utterance
8. Kairos

In music as in life, Courvoisier crosses borders with a creative spirit and a free mind; her music-making is as playful as it is intense, as steeped in tradition as it is questing and intrepid, and thus this wholly impassioned new recording opens on the organically beholden, and sumptuously confluent Olo’Upnea and lightning and then we get the playfully strident Naomi Peak, a languishing beauty that veins through Whispering Images, and the sober toned A Line Through Time.

And with American trumpeter and composer Smith bringing his esteemed creativity to the fore in stunning style, up next is the flirtatiously perfect Vireo Bellii which is itself followed perfectly by the demurely elegant title track Angel Falls, the set rounding out on the sharply cornered at times, yet mellow and wafting at others Sonic Utterance, closing on the formidably structured decadence of Kairos.

Musicians:
Sylvie Courvoisier: Piano, Composition
Wadada Leo Smith: Trumpet, Composition

Official Purchase Link

www.sylviecourvoisier.com

Sylvie Courvoisier @ Facebook

www.wadadaleosmith.com

For those unaware, Margherita Fava, is a pianist, composer, arranger, bandleader, and educator based in Knoxville, Tenn.

She was born into a family of classical musicians in the small village of Follina in northeast Italy. Her parents are baroque specialists, her father a violinist and her mother a cellist and singer.

Fava started piano lessons at 10, picked up the electric bass as a teenager, and at 17 enrolled in a summer jazz program in nearby Venice sponsored by The New School from New York. One day she learned by ear Miles Davis’ solo on “So What” from Kind of Blue. It changed her life. “It was the most exciting thing that has ever happened to me!” she says.

A scholarship to Michigan State brought Fava to East Lansing, where she studied piano with Xavier Davis and came into the orbit of the charismatic bassist Rodney Whitaker. After graduating with a degree in jazz studies, she earned a master’s degree in music at the University of Tennessee, studying piano with Eric Reed and composition with Greg Tardy.

She currently collaborates with the Knoxville Jazz Orchestra on various projects like the concert series “NXT GEN” and the Knoxville Jazz Workshop.

In August 2022 she released her first EP of original music entitled “Okra/Search of the Unknown”, then in March 10th 2023 her debut album “TATATU” was released (featuring Gregory Tardy, Michael Reed and Javier Enrique), and now she brings us her sophomore album Murrina, releasing October 3rd, 2025.

1. No Clue
2. Keep On (feat. Bob Reynolds)
3. Intermezzo, Op. 117, No. 2
4. Murrina
5. Satin Doll
6. Yarn
7. Murrina Reprise
8. Foreshadow
9. Alter Ego (feat. Taber Gable, Jeff Babko)

This beautifully sculpted work of musical art opens on the dulcetly tuned No Clue and then brings us the spirited fervor of Keep On (featuring Bob Reynolds), the beautifully sculpted Intermezzo, Op. 117, No. 2, and then we are graced with the quietly fervent stature of the title track Murrina.

Along next is the free-flowing Satin Doll which is itself backed seamlessly by the more cultured Yarn, the statically-charged, lower registered reprise of the title track, the music rounding out on the late-night elegance of Foreshadow, closing on the funky keyboard work of Jeff Babko and additional piano work from Taber Gable that synth-tastically propels Alter Ego at every delicious turn.

While Randy Armstrong is often regarded as a global music ambassador — performing on guitars and diverse instruments from around the world — Echoes of Tomorrow takes a more direct, stripped-down approach. Without the sprawling concepts of his earlier albums, his lyrical guitar work shines with clarity.

Musicians:
Margherita Fava: piano, compositions, arrangements
Brandon Rose: upright and electric bass
Jonathan Barber: drums
Bob Reynolds: tenor saxophone
Taber Gable: synths
Jef Babko: synths and editing

Official Purchase Link

www.margheritafava.com

For those unaware, Mark Miller is a versatile trombonist, composer, and arranger who has a passion for big band and Latin jazz. Cutting his musical teeth in Wisconsin and Minnesota, Mark began his recording career as a member of the collective jazz composers’ sextet, Motion Poets. They recorded three albums, which garnered critical acclaim.

Soon after, Mark relocated to NYC and made his way there playing creative jazz and performing with many Latin bands. These experiences fostered in him a deep love for Nuyorican salsa.

Mark also developed his career playing Broadway shows. In 2002 he hit the road for a few years of back-to-back tours with “Swing” and the Billy Joel - Twyla Tharp rock ballet, “Movin Out.” Highlight: jamming with Billy to sold-out theatres. Mark also was a featured soloist in the Broadway show “Come Fly Away,” playing the music of Frank Sinatra, for its six-month NYC run and portions of the US tour.

Even while touring, Mark made time to record. “The Return Of Slide Huxtable” was with his Minneapolis quartet. He was also a backing artist on Nicki Denner’s “El Medico De Coqui;” Darren Holden’s “Road Works;” and Trek’s “From the Ivory Tower.” Sometimes these recording sessions happened on the road in the makeshift studio of a hotel room.

Home from the road, Mark returned to playing creative music with several projects. He joined Paul Carlon’s Octet and recorded their Strayhorn tribute, “La Rumba Is A Lovesome Thing,” in 2013. He also joined the big band of Pedro Giraudo and recorded “Cuentos” in 2015. Pedro would later win the 2018 Latin Grammy for Best Tango Album. Mark played and arranged two songs on the 2016 Latin Grammy - nominated “Between Brothers” by Raul Agraz.

Last year Mark also appeared on the Jonas Brothers’ “The Album” with iconic rock saxophonist Richie Cannata. Other notable artists Mark has performed with include Jennifer Hudson, Josh Groban, Idina Menzel, Southside Johnny, Michael Feinstein, Jon Batiste, Cy Coleman, Frank Sinatra Jr, Tito Puente Jr, Lorna Luft, Lucille Arnaz, and amongst other both Gloria Gaynor and Groove Collective.

Mark’s artistic focus for the last dozen years has been playing lead trombone and writing for the Birdland Big Band. 2018’s “Birdland Big Band Live” album features three of Mark’s charts.

The band’s new studio album, releasing August 29th,2 05 is entitled “Storybook: The Music of Mark Miller” and is his biggest project to date and which has also taken years to come to fruition. The ten tracks on the CD include five original pieces and five of Mark’s arrangements. Three songs also features vocalist Nicole Zuraitis, the 2023 winner for Best Vocal Jazz Album.

1. Storybook (feat. Brandon Lee, Kenny Ascher & Nathan Childers) [6:46]
2. Water Lily (feat. Troy Roberts & Kenny Ascher) [6:54]
3. Tenderly (feat. Nicole Zuraitis & Sam Dillon) [4:15]
4. Chorale And Alleluia (feat. Troy Roberts & Kenny Ascher) [7:39]
5. Sail Away (feat. David DeJesus & Glenn Drewes) [5:58]
6. WTF (feat. David DeJesus, Sam Dillon, Chris Smith, James Burton III & Sara Jacovino) [8:03]
7. Close Your Eyes (feat. Nicole Zuraitis, Kenny Ascher & James Borowski) [5:19]
8. Concierto De Aranjuez [1:51]
9. Spain (feat. Brandon Lee, Nathan Childers & Chris Smith) [7:30]
10. The Doubledown (feat Jason Marshall, Ron Wilkins, Noriko Ueda & Mark Miller) [7:26]
11. Nonsense (feat. Nicole Zuraitis & Ron Wilkins) [5:08]

Having performed in 48 states and 18 countries on five continents, and having toured with the likes of Diana Ross and Blood, Sweat & Tears, Mark opens on the luxuriant Storybook (featuring Brandon Lee, Kenny Ascher & Nathan Childers) and the flourishing Water Lily (featuring Troy Roberts & Kenny Ascher) and then brings us the lushly sculpted Tenderly (featuring Nicole Zuraitis & Sam Dillon) and then come both the veritably cinematic Chorale And Alleluia (featuring Troy Roberts & Kenny Ascher) and the sweeping Sail Away (feat David DeJesus & Glenn Drewes).

Along next is the spirited SWTF (feat David DeJesus, Sam Dillon, Chris Smith, James Burton III & Sara Jacovino) and the low slung Close Your Eyes (featuring Nicole Zuraitis, Kenny Ascher & James Borowski) and they are in turn backed by the drum-led Concierto De Aranjuez, the forthright beauty of Spain (featuring Brandon Lee, Nathan Childers & Chris Smith), the buoyant The Doubledown (featuring Jason Marshall, Ron Wilkins, Noriko Ueda & Mark Miller), closing on the rhythmically melodic Nonsense (featuring Nicole Zuraitis & Ron Wilkins).

Musicians:
Musical Director: David DeJesus
Vocalist: Nicole Zuraitis
Alto saxes: Nathan Childers, David DeJesus
Tenor saxes: Troy Roberts, Sam Dillon
Bari Sax: Jason Marshall
Flutes: David DeJesus, Sam Dillon, Nathan Childers
Trumpets: Raul Agraz, John Walsh, Brandon Lee, Glenn Drewes, Max Darché
Trombones: Mark Miller, James Burton III, Ron Wilkins, Sara Jacovino, James Borowski (bass)
Piano: Kenny Ascher, Adam Birnbaum
Bass: Noriko Ueda
Drums: Chris Smith

Official Purchase Link

www.birdbigband.com

For those unaware, The Litteral Truth is a vibrant fusion of jazz, funk, and rock that showcases Paul Litteral’s one-of-a-kind sound and vision.

This record is more than just a collection of songs. It’s a bold reimagining of classic covers, featuring new arrangements straight from the mind of Paul Litteral — a trumpet player known for his soulful tone, inventive phrasing, and genre-blending creativity.

You’ll hear fresh takes on tracks by Steely Dan, Edgar Winter, and a few surprises from lesser-known artists who deserve the spotlight. All delivered with Paul’s signature jazz soloing style and backed by a powerhouse band of musicians.

1. Home At Last
2. Give It Everything You’ve Got
3. Black Cow
4. Ghostown
5. Do It Again
6. New York, By Dreams
7. Use Me
8. Dying To Live
9. Virtual Insanity
10. Follow Me

On what is a funky, smart, and full of attitude jazz album, Paul opens this delightful musical experience on the beautifully smooth Home At Last and the spirited Give It Everything You’ve Got and then we get the summer breeze of Black Cow, an extremely intriguing rendition of The Specials’ Ghostown and a resplendent Do It Again.

Along next is the upbeat and propellant New York, By Dreams and that is backed by the soulful funk of Use Me, the all-embracing Dying To Live, the set rounding out on a simply brilliant cover of Jamiroquai’s Virtual Insanity, closing on the stillness of the elegant Follow Me.

Musicians:
Paul Litteral – Trumpet
Tony Pia – Drums
Ken Rosser - Guitar
Bill Bodine – Bass
Sam Morgan – Sax
Kyle Zimmerman – Alto Sax
Shante Palmer – Trombone
Rocky Davis – Keys
Craig Kupka – Trombone
Colin Kupka – Sax

Official Purchase Link

www.birdbigband.com

For those unaware, today, prolific New York City-based trumpeter/multi-instrumentalist and orchestrater MAC GOLLEHON presents Pistoleros, the newest album from his ever-morphing entourage, MAC GOLLEHON & THE HISPANIC MECHANICS. The record is now streaming everywhere alongside a theatrical trailer featuring actor Vincent Pastore.

MAC GOLLEHON & THE HISPANIC MECHANICS’ Pistoleros boldly challenges traditional genre boundaries, asserting itself as a seminal work in the evolution of modern world fusion. This innovative album simultaneously coalesces and invokes facets of beauty, terror, love, and madness, inviting listeners to explore new musical territories.

Eight original songs encompass a spirited reconstructed influence of Latin Caribbean grooves, intricate layers of cinematic jazz, broad strokes of progressive and electronica. This lamination of genres is a futuristic dialogue between traditional and contemporary, representing World music as a living and breathing entity.

Pistoleros was composed and written by MAC GOLLEHON who performs a wide array of trumpet, trombone, tuba, keys, guitar, and vocal deliveries across the album. He’s joined by percussionists Anthony Carrillo – known for his work with Batacumbele, Eddie Palmieri, Hilton Ruiz, Yambawa, Giovanni Hidalgo, Gonzalo Rubalcaba, Harry Belafonte, Paul Simon, and many more – and Cuban ballet/dance and percussion master Elvis Ferrara, with additional drums and bass provided by Greg Meisenberg (A Fucking Elephant, Dead Register), and synth/noise/efx from David Brenner (Gridfailure, Diminishing).

The album was recorded and mixed by David Maurice (Jay-Z, Psychedelic Furs, 007: Quantum Of Solace), who also co-composed “Sign It,” and completed with photos and video Modern Day Auteur.

1. Pistoleros
2. Stud Poker
3. Sign It
4. MAC Attack
5. Vinny “Bay Parkway Snake”
6. Killer Joe “Zillionario”
7. Atiba “SideEye” Powers
8. Stacked Deck

World renowned trumpet assassin Mac Gollehon opens this brilliant new recording on the funk-driven, electronically pulsating title track Pistoleros and then we get the transportive Stud Poker, the effortlessly spacial Sign It and the electronica hipsway of MAC Attack.

Along next is the veritably cinematic in scope Vinny “Bay Parkway Snake” which is itself backed seamlessly by the emotively-charged Killer Joe “Zillionario,” the set rounding out on the effectively staggered Atiba “SideEye” Powers, closing on the jagged freneticism of Stacked Deck.

In the filmic trailer, we see “Mac Attack,” played by GOLLEHON, recklessly betting his entire career and record contract on a hand of Blackjack with a ruthless mob boss and cast of underworld characters, each of whom has a signature theme song on the album. The boss, Vinny the “Bay Parkway Snake,” is played by Vincent Pastore – best known as Salvatore "Big Pussy" Bonpensiero in HBO’s The Sopranos, as well as films including Gotti, Shark Tale, Goodfellas, Carlito’s Way, Money Train, Mickey Blue Eyes, and many others. Jazz club owner Atiba Powers appears as Atiba “Side Eye” Powers. “Killer Joe Zillionario” is played by Joe Ferraro, a character actor and New York Blues Hall of Fame frontman of the Killer Joe Band.

Official Purchase Links

Mac Gollehon & The Hispanic Mechanics - PISTOLEROS (Theatrical Trailer)

For those unaware, Lily Vakili is aa lifelong observer, chronicler, and creative force, who has spent decades gathering fragments of the world – memories, landscapes, voices, losses, joys – and transforming them into urgent, electric songs.

It was on her most recent solo tour, while driving through the continental US with one of her brothers (a former submariner) as roadie, that Vakili found the inspiration for what would ultimately become a new album and a new era for her artistry, signaled by a return to using her own name, Lily Vakili (rather than Vakili Band), for her musical explorations.

On her new album , Vakili offers her most intimate, collaborative, and expansive work yet: A collection shaped by lived experience, artistic risk, and restless curiosity. It’s music born not of image or pretense, but of will – a record that embraces improvisation, vulnerability, and the raw pleasure of creation.

The album’s title is both literal and metaphorical – a nod to the prehistoric inland sea that once covered the Great Plains, and to Vakili’s own understanding of life as layered, shifting, and filled with fossils of memory.

An overnight stop on tour led Vakili to the Sternberg Museum of Natural History in Hays, Kansas. Standing before the spectacular remnants of that ancient ocean, Vakili felt the weight and wonder of time collapse: “I understood something,” she reflects. “that I am the archivist, the archaeologist, of my own life.”

The album draws on that revelation, honoring what’s been unearthed, what’s been lost, and what’s still surfacing. As Vakili puts it, “Everything is fleeting, everything is here.”

1. Okoboji
2. Hold On They Say
3. I’ve Been Hiding
4. Maybe It’s All Over
5. Photograph
6. One Human Being
7. April Fools
8. Rocket
9. Tannersville
10. I’ve Been Hiding (Radio Edit)

On what is a brilliant cultivated, seamlessly crafted new recording, Lily opens on the rhythmically melodic Okoboji and then we get the easy going, summers breeze of Hold On They Say, the gentler, bluesy grit of I’ve Been Hiding, the veritably translucent Maybe It’s All Over and then we get brought forth the low slung, Americana-hued Photograph.
Along next are the all-embracing rhythms that flow within One Human Being which is itself backed by the atmospherically airy April Fools, the gorgeously Americana-Folk imbibed Rocket, the set rounding out on the guitar-fed rocker Tannersville, closing on a radio edit of I’ve Been Hiding.

Okoboji (Official Audio Video)

Lily Vakili @ Facebook

For those unaware, Toronto-born saxophonist Pete Mills delivers a soulful, high-energy session with For The Record, his latest release and a love letter to the timeless sound of the tenor saxophone and Hammond B3 organ quartet.

With deep roots now planted in the Midwest, Mills draws from the rich legacy of Columbus, Ohio—a city long known for its hard-swinging tenor/B3 traditions. This new album channels that energy, and history, following in the footsteps of legendary pairings like Stanley Turrentine and Jimmy Smith or Rusty Bryant and Hank Marr and is Mills’ second fore into the classic B3/tenor pairing, having recorded the acclaimed Fresh Spin (Chicken Coup/Summit) with B3 virtuoso Tony Monaco. Pete’s discography also includes releases on Cellar Live (Sweet Shadow) and Summit, (Art and Architecture).

For The Record features a working band of nearly ten years: Jon Eshelman on Hammond B3, Tom Davis on guitar, and Zach Compston on drums. Each not only contributes their individual artistry, but also brings original compositions to the album, resulting in a project that’s cohesive, soulful, and brimming with personality. The chemistry among the group is unmistakable, cultivated over years of live performances and shared musical language.

1. For The Record
2. The Kid
3. Bird Lives
4. Kenny, Ken
5. Z Is For Zadie
6. Jammy Git
7. The Visitor
8. Step On It
9. Baby Simon

The native Canadian opens his scintillating new recording on the gently sinuous title track For The Record and then we get the fluent The Kid the spirited Bird Lives and the nifty Kenny, Ken.

Along next is the luxuriant Z is for Zadie which is in turn backed seamlessly by the playfully perky Jammy Git, the languishingly elegant The Visitor, the set rounding out on the rambunctiously rhythmic Step On It, closing on a low slung radio edit of Baby Simon.

Pete Mills - For The Record [Official Musical Sneak Speak] Official Website

Pete Mills @ Facebook

For those unaware, Meredith Moon announces the release of her new studio album From Here To The Sea. Moon’s third album, and first for Compass Records, finds the Canadian-born songwriter and instrumentalist taking a slight detour from the Appalachian old-time roots of the album’s predecessor, Constellations.

Produced and recorded in Ontario and Nashville by Colin Linden (Lucinda Williams, T-Bone Burnett, Bruce Cockburn) and featuring Rebecca Lovell (Larkin Poe), Lillie Mae Rische & Dominic Davis (Jack White), Julian Taylor, George Receli (Bob Dylan), and Jerry Douglas, among others, the album explores avenues of blues, folk, and folk-rock, and even incorporates elements of old-time jazz.

1. East City Blues
2. Poseidon
3. No Closing Time
4. Lulu Gal
5. Six Strings
6. Category Five
7. Sapphire Blue
8. Louisiana Trees
9. The Willow
10. I’ll Remember You In The Summer
11. Freight Train

With Moon having been described as a ‘gem’ in both the old-time and contemporary folk music scenes for her unusual expression of the genres, she opens her stunningly ambient new recording on the atmospherically charged modern day folk/blues of East City Blues and the impassioned smoothness of Poseidon, the gently rolled No Closing Time, the traditional, banjo-fueled Lulu Gal, before the luxuriant Six Strings is brought forth.

Along next is the lushly comfortable feel to Category Five which is itself backed by the acoustic-based grooves that drive Sapphire Blue, the languishing beauty of Louisiana Trees and the heartfelt The Willow, the set rounding out on the hauntingly resilient I’ll Remember You In The Summer, closing on the gentle sundown twang of Freight Train

Meredith Moon - East City Blues (Official Audio) Official Purchase Link

Official Website

Meredith Moon @ Facebook

For those unaware, Robbie Fulks is a fiercely independent voice in American music, blending the raw spirit of punk with the storytelling tradition of country and Americana.

Variety Magazine calls him one of the best singer-songwriters in American roots music over the last 25 years — and “one of the best writers in America, period.”

On his new release, Now Then, Fulks offers an introspective look at his life’s journey, from his Appalachian upbringing through the experiences that brought him to Los Angeles, where he has lived since 2018. Fulks said: “These songs came out of my feelings about the specific environment of Los Angeles and, more generally, the outlook of older age. I moved to L.A. when I was fifty-five and soon fell in with new musicians and friends. I excitedly imagined how these folks would sound on the songs and tried to musicalize and shape the oddments of my mind as they emerged — anxieties, amusements, dread, scenes of family life, and childhood. Listening back to it now, I’d say it reveals my present psychological profile to be 70% pensive, 20% droll, and 10% angry.”

Fulks produced the album, recorded at Jackson Browne’s Santa Monica studio, Groove Masters, by Sheldon Gomberg. Tucker Martine (Roseanne Cash, My Morning Jacket, The Decemberists) mixed. The musicians on the project include Pete Thomas (Elvis Costello) and Jay Bellerose on drums, Jenny Scheinman on fiddle, Kevin Barry and Duke Levine (Bonnie Raitt) on guitar, Paul Bryan (Aimee Mann) and Kimon Kirke on bass, and Wayne Horvitz on keys.

1. Workin’ No More Blues [3:04]
2. Ocean City [5:47]
3. Now Now Now Now Now [3:32]
4. There’s A Man [3:18]
5. That Was Juarez, This Is Alpine [4:54]
6. Savannah Is A Devilish Girl [3:31]
7. Your Tormentors [4:12]
8. My Heart, Your Hands [3:34]
9. The Thirty-Year Marriage [3:47]
10. Poor And Sharp Witted [3:56]
11. Ol’ Folks [4:15]
12. Nobody Cares [2:43]

Having gained national recognition as a key artist in the alt-country scene during the 1990s, Fulks opens his authentically heartfelt new recording on the impassioned Workin’ No More Blues and the pleasing Ocean City and then we get the gentle guitar rocker Now Now Now Now Now, the free flowing There’s A Man, before we are gifted the acoustically mellow That Was Juarez, This Is Alpine and the banjo-hued joy of Savannah Is A Devilish Girl.

Along next is the atmospherically-charged Your Tormentors and the quietly moving My Heart, Your Hands and they are in turn backed by the dulcet storytelling of The Thirty-Year Marriage, the optimistically buoyant Poor And Sharp Witted, the set rounding out on a lonesome yearn that drives Ol’ Folks, coming to a close on the smoothly crafted easiness of Nobody Cares.

Official Purchase Link

Official Website

Robbie Fulks @ Facebook

For those unaware, Heather McKay is a Berklee College of Music graduate who is equally comfortable performing, composing and teaching, though her true passion is composition.

Heather has played just about every style of music—from jazz, pop, rock, and funk to Persian, Caribbean, Afro-Cuban, gospel, and blues. Her love of Latin jazz came from her best friend and bass player, Adri Galler Lastra.

She and Adri would sit for hours playing Latin tunes from the real book or jamming on salsa and other Afro-Cuban grooves. Adri introduced Heather to Maestro Afredo Mohica. Heather joined Mohica’s Latin jazz band, where she contributed a couple of her own compositions.

Heather also fell in love with Brazilian rhythms by listening to and playing with another bass player and good friend, Leonardo Lucini. Leonardo would go on to become an integral part of her first CD, Life Got In The Way.

1. You Make Me Smile [5:36]
2. Boo [4:43]
3. Narraguagus Bay [7:33]
4. Eleven Reasons Why [6:29]
5. The Playground (Sammy, Elle and G) [5:23]
6. Run [5:29]
7. Things That Were Said [5:56]
8. Kenyan Moon [5:49]
9. Lucini In The Park [5:27]

Having played guitar for original music and cover bands throughout the Washington/Baltimore area, McKay opens her impassioned recording on the spirited You Make Me Smile and the drum-fed rhythmic gem Boo, the sumptuously shimmering Narraguagus Bay and then comes the funkily grooved beauty Eleven Reasons Why.

Along next is the charismatically grooved-fueled The Playground (Sammy, Elle and G) which is itself backed by the atmospherically-charged Run, the smoothly soulful Things That Were Said, the set rounding out on the elegance of Kenyan Moon, coming to a close on a melodious hipsway that drives Lucini In The Park.

After 25 years of playing gigs in various bands, Heather decided to take all she had absorbed through playing all styles of music and focus on composing. She wanted to create a CD with a Latin jazz flair that grooved as hard in different meters as it did in 4/4.

This project was years in the making, with the tunes evolving along the way. Heather has had the privilege of working with many of the DC area’s top musicians. She feels very fortunate to have a few of them be part of the Heather McKay Project, both on the CD and in performances.

Official Purchase Link

Official Website

When pianist-composer Satoko Fujii and trumpeter-composer Natsuki Tamura make music together, the results are always extraordinary. Their deep musical intuition and fearless creativity have shaped one of the most distinctive duos in modern jazz.

On September 19th, 2025, they will release Ki (Libra Records), their tenth duo album—a work that proves restraint can be just as daring as explosive virtuosity.

Unlike past projects filled with fiery improvisations, Ki thrives on quiet intensity. The album features seven new Tamura compositions, each named after a species of tree, alongside one Fujii original.

The entire program unfolds at a meditative, slow tempo—yet the performances remain endlessly fascinating thanks to the duo’s command of tone, silence, and emotional depth.

1. Keyaki [9:39]
2. Sugi [6:56]
3. Hinoki [9:48]
4. Kusunoki [10:00]
5. Arakashi [6:49]
6. Icho [6:34]
7. Kunugi [7:56]
8. Dan’s Oceanside Listening Post [4:52]

With seven of the eight tunes here being Tamura originals, she opens her impassioned recording on the starkly bare Keyaki and then we get the more rounded, softer edged Sugi, a quiet confidence of Hinoki, and yet a distinctively trepidatious Kusunoki follows.

Along next is a hopeful yearn within Arakashi and that is in turn backed seamlessly by the deeply encouraging Icho with the recording rounding out on the soulfully somber Kunugi, closing on the deeply succinct Dan’s Oceanside Listening Post.

Official Purchase Link

www.satokofujii.com

When it comes to his upcoming album, In the Shadow of the Mountain, 25-year-old singer-songwriter Cole Chaney is pretty candid and blunt about who he is and what kind of music he wants to make — the result of which, this stunning offering from an artist wise beyond his age.

“There’s a yin to every yang,” Chaney says. “I want nothing more than for people to be creatively fulfilled, and to do what they want. But, for me to preach that? I have to practice it.”

That attitude resides at the core of the record, where the trajectory of the songs seemingly — more so purposely — shoot off in the opposite direction of many of his contemporaries in the Americana, country and folk music scenes. In truth? Chaney is summoning his rock roots.

“I’m not concerned with being labeled as ‘country.’ There’s not a lot of music being released right now that is doing much for me — I want to make something I want to listen to.”

Pointing to his lifelong admiration for 1990s rock — specifically Soundgarden, Alice in Chains and Stone Temple Pilots — as a vital influence on the sonic landscape of the album, Chaney aimed to find a melodic balance between that raw and real rock sound and the bluegrass and folk music of his native Kentucky.

“I wanted to make something that sounded like Ralph Stanley went in and got backed up by Soundgarden,” Chaney notes. “I write what I listen to. And whatever I listen to is going to come out in my music.”

1. Into
2. The Shadow of the Mountain
3. Grind
4. Spirit
5. The Unsatisfied
6. Charlene
7. Let The Love Die
8. Feels Like Rain
9. Alone?

Having had this album captured by famed producer Duane Lundy at his legendary studio in Lexington, Kentucky, and drawing from his lifelong admiration for 1990’s rock, he opens his stunningly crafted new recording on the atmospheric Into and the engagingly emphatic title cut The Shadow of the Mountain and them we get given the rhythmically crafted storytelling within Grind and the willfully embodied Spirit.

Along next is the melodious The Unsatisfied which is in turn backed seamlessly by the gently all-embracing Charlene, the emboldened mid-tempo rocker Let The Love Die, the set rounding out on the warmly rounded Feels Like Rain, coming to a close on the intensely stirring Alone?

Official Purchase Links

Cole Chaney @ Spotify

Cole Chaney @ Facebook

For those unaware, assembling nearly two decades of smashes, Diamond-certified and GRAMMY® Award-nominated pop rock band OneRepublic unveil their first-ever career-spanning album entitled OneRepublic: The Collection today, via UMe.

It is available digitally on all streaming platforms as well as various physical configurations, including CD, a 1LP black vinyl pressing, a limited-edition 1LP “Fruit Punch” color vinyl, and an exclusive 1LP Zoetrope vinyl pressing, only available online through the group’s official D2C store, uDiscover and Sound of Vinyl.

With 16 tracks, The Collection collates some of the band’s biggest hits on one body of work for the very first time. Among many highlights, it features the generational hit “Counting Stars.” Originally a staple from their 2013 album Native, the latter has only continued to gain popularity over the years, earning a rare Diamond certification from the RIAA and gathering a staggering 3 billion Spotify streams, standing out as one of the “Top 100 Most-Streamed Songs on the Platform.”

Additionally, it reached #2 on the Billboard Hot 100. Plus, this set includes “I Ain’t Worried.” Originally penned for the blockbuster Top Gun: Maverick Original Motion Picture Soundtrack, the 4x-Platinum song figured prominently in the film, playing during the volleyball sequence. Of course, The Collection also houses OneRepublic’s signature breakout “Apologize.”

Certified 4x-Platinum by the RIAA, the latter vaulted to #2 on the Hot 100 and garnered a GRAMMY® nomination in the category of “Best Pop Performance by a Duo or Group with Vocal.” The Collection also showcases collaborations such as “If I Lose Myself” and “I Don’t Wanna Wait”. Speaking to the band’s quiet, yet prevalent influence, they regularly average over 53 million monthly listeners on Spotify, a testament to quality songwriting and musicianship.

Side A:
1. I Ain’t Worried 2. Counting Stars 3. Run 4. I Lived 5. Runaway 6. Secrets 7. Apologize (Timbaland Mix) 8. Sunshine

Slipping the vinyl record out of its sleeve, marveling at the beautiful zoetrope aspects of its limited edition design as the sun glints admiringly upon it, I placed it onto the record player, gently dropped the needle and sat back to enjoy the first side.

Up first is the whistling perfection of the poptastic I Ain’t Worried, the timeless nostalgia brought forth listening to Counting Stars and the catchy Run, along next is the affecting I Lived, the propellent drive of Runaway, the touching Secrets, the side rounding out on the emotional chartbuster Apologize (Timbaland Mix) and the vibetastic Sunshine.

Side B:
1. Love Runs Out 2. Wherever I Go 3. Rescue Me 4. If I Lose Myself 5. Good Life 6. Stop And Stare 7. All The Right Moves 8. I Don’t Wanna Wait

Flipping the vinyl over, and this quite wonderous new collection of sounds continues onward with the powerful masterpiece Love Runs Out, the sentimentally unrated Wherever I Go and the amazingly expansive Rescue Me and they are in turn backed seamlessly by the uplifting If I Lose Myself, the Don’t cry because it’s over. Smile because it happened inducement of Good Life, the simply amazing Stop And Stare, the set coming to a close on the melodiously harmonized All The Right Moves and the vibe-banger I Don’t Wanna Wait.

Available on this limited-edition 1LP zoetrope, OneRepublic: The Collection is a must-have for fans of the band and of great music, in general.

Colin Hay - Blue For You (Official Audio)

Official Zoetrope Purchase Link

Official OneRepublic Website

OneRepublic @ Facebook

For those unaware, Mobile Fidelity presents the 1975 funk milestone in Audiophile Sound for its 50th Anniversary: 180g 45rpm 2LP plays with Intoxicating Definition, Immediacy, and Clarity.

“Do not attempt to adjust your radio.”

The instruction that begins Parliament’s Mothership Connection prepares you for an ecstatic journey and establishes the setting for a cosmic trip into galaxies populated with galactic grooves, joyous vibes, cheeky humor, streetwise slang. This is nearly 39 minutes of some of the best, sweatiest, most enthusiastic funk devised — all laid down by an all-star band responsible for what Rolling Stone named the 363rd Greatest Album of All Time.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP presents Mothership Connection in audiophile sound for the first time.

Making its debut on 45rpm, Parliament’s benchmark benefits from the wide groove space by playing with tauter bass, enhanced definition, and more realistic presence than prior editions. Everything from the brassiness of the horns to the crisp slap of the snare to the fleshy snap of handclaps comes across in full-range perspective.

This collectible 50th anniversary reissue of the 1975 set exhibits a combination of transparency, solidity, and imaging that brings into clear view every note Parliament committed to tape at United Sound in Detroit and Hollywood Sound in California.

On this pressing, the dynamics, hooks, and hip-shaking verve of Mothership Connection practically explode. Important facets such as the bountiful depth of the bass lines to the brassy purity of the horns to the distinctive textures of the various keyboards comes across with immersive realism.

Side One:
1. P. Funk (Wants to Get Funked Up)

Side Two:
2. Mothership Connection (Star Child)
3. Unfunky UFO

Side Three: 4. Supergroovalisticprosifunkstication
5. Handcuffs

Side Four:
6. Give up the Funk (Tear the Roof Off the Sucker)
7. Night of the Thumpasorus Peoples

The seminal 1975 P-funk release, Mothership Connection, was the first George Clinton album to feature Maceo Parker and Fred Wesley, who had recently left James Brown’s backing band, The J.B.’s.

Widely regarded as one of Parliament’s best, Mothership Connection was the first P-Funk mythology concept album, introducing fictional characters and themes which would remain central to George Clinton’s work over the next decade.

Personally I think Mothership stands high in the critical and mainstream world because it was the first to deliver that definitive P-Funk sound of Moog synth, Sci-fi concept, Mu-Tron bass, Horny Horns, etc. and which seemed so unique and groundbreaking at the time.

In fact, the album was influential in shaping the sound of P-Funk, and indeed Hip Hop, with Dr Dre sampling both Mothership Connection (Star Child) and P Funk (Wants to Get Funked Up) on his legendary 1992 album, The Chronic.

As we all now know, George Clinton made a type of funk that is explicitly a character of the genre. It is exaggerated compared to the likes of Curtis Mayfield and Sly & The Family Stone. Parliament brings phatter beats, wonkier bass, and an explosive personality to the vocals. It is just so good!

Of course, we have to pay respect to Bootsy Collins in the band for bringing awesome bass skills to this funk. This carries over from his significant work with James Brown, making for a truly funky sound.

I can hear everything from the Commodores to Bruno Mars in this album. A little too decadent at times but some cool stuff. I found myself laughing at the storyline and personas within P-Funk (like listening to the Ladies Man narrate a song). But sometimes that got annoying later in the album.

The underlying beats on both Mothership Connection and Unfunky UFO are super cool. Sometimes it felt like the album blended together too much, but I wonder if he/they were going for seamless transition of tracks in the first place.

Thump, thump, thump. A whole lotta rhythm goin’ ‘round, indeed.

Record One, Sides One/Two: 1/4” 30 IPS analog master to DSD 256 to analog console
Record Two, Sides Three/Four: 1/4” 15 IPS analog master to DSD 256 to analog console

Official Purchase Link

For those unaware, the King of Pop’s 1991 studio album is presented in Audiophile Sound for the first time: Sourced from the Original Masters, Mobile Fidelity’s Numbered-Edition 180g 33rpm 2LP set plays with Superb Clarity, Detail, and Presence.

Dangerous saw Michael Jackson go in a new direction. The strategy paid off when the 1991 release debuted at No. 1 on the Billboard 200 and sold over 25 million copies worldwide by September 1994. Global sales now near 40 million.

Sourced from the original masters, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 33rpm 2LP set presents Dangerous in audiophile-quality sound for the first time.

Jackson’s signature vocals come across with incredible transparency and presence, along with the fullness of his range and the soaring heights of his falsetto. You’ll also enjoy expansive soundstages, ample instrumental separation, black backgrounds, and broad dynamics.

Featuring 14 songs, Dangerous includes hits like “Black or White,” “In the Closet,” “Remember the Time,” “Jam,” and “Heal the World.” Each of the album’s nine singles was supported by a unique Michael Jackson short film, later compiled in Dangerous: The Short Films (1993).

Side One:
1. Jam
2. Why You Wanna Trip on Me
3. In the Closet

Side Two:
4. She Drives Me Wild
5. Remember the Time
6. Can’t Let Her Get Away
7. Heal the World

Side Three:
8. Black or White
9. Who Is It
10. Give in to Me

Side Four:
11. Will You Be There
12. Keep the Faith
13. Gone Too Soon
14. Dangerous

Dangerous along with Off The Wall, HIStory and Invincible have virtually been ignored by the estate even though the majority of fans have been begging for a Dangerous anniversary album for years now. But the estate have instead focused on the Bad and Thriller anniversary albums. It seems that they have forgotten about the album that debuted Michael into a new decade, and the era that catapulted him into Legend status.

It was the fastest selling album in the beginning of 1992 and apparently was selling faster than Thriller did when Thriller first released. The short film premiere of Black or White was watched by over 500 Million people on TV in 28 different countries (which was a groundbreaking record). Many fans make the claim that Dangerous would’ve sold more and would be more appreciated had it not been for the allegations, but that is another story for another day.

This was Michael’s first solo album without producer Quincy Jones and instead was replaced with Teddy Riley who along with MJ created New Jack Swing, a popular genre that became a signature sound within the Dangerous album.

With the help of Teddy Riley and other musicians Michael Jackson managed to reinvent himself for the new decade and prove to the world that the King of Pop could keep up with the times and keep up with the music industry.

In closing, Dangerous was an extremely important album for MJs career and gave life to a new genre and era ... and yet it still seems to be under appreciated (but not by me).

PROVENANCE INFO:
“Jam,” “Why You Wanna Trip on Me,” “In the Closet,” “She Drives Me Wild,” “Remember the Time,” “Can’t Let Her Get Away,” and “Dangerous”: ½” / 30 IPS analog master with Dolby SR noise reduction to DSD 256 to analog console to lathe.
“Heal the World” and “Keep the Faith”: Mitsubishi X-86 HS ¼” 48kHz 16-bit digital format to DSD 256 to analog console to lathe.
“Black or White,” “Who Is It,”and “Give in to Me”: ½” / 30 IPS analog master to DSD 256 to analog console to lathe.
“Will You Be There” and “Gone Too Soon”: ¼” / 30 IPS analog master with Dolby SR noise reduction to DSD 256 to analog console to lathe.

Official Purchase Link

For those unaware, this brilliant, ground-breaking 1995 record is now presented in Audiophile Sound for the first time for its 30th Anniversary: Mobile Fidelity’s UltraDisc One-Step 180g 45rpm 2LP Box-Set is strictly limited to 4,000 numbered copies.

When Alanis Morissette took direct aim at an ex who wronged her on the eviscerating “You Oughta Know” in 1995, everything about the Top 10 song communicated it wasn’t the usual narrative about love gone south. Or the typical wounded singer wallowing in self pity.

Morissette, and both the lead single from and her entire American major-label debut — the profoundly personal Jagged Little Pill — represented a sea change. They kickstarted a movement, one whose impact continues to echo throughout the mainstream three decades later.

Ranked the 69th Greatest Album of All Time by Rolling Stone, included on the Rock and Roll Hall of Fame’s list of 200 Definitive Albums, and featured in several books about essential albums, Jagged Little Pill remains more than a blockbuster that has sold more than 17 million copies in the U.S. and 33 million units worldwide. It’s a statement, an attitude, a soundtrack for anyone seeking inspiration, an outlet, or permission to be themselves.

Sourced from the original master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, and strictly limited to 4,000 numbered copies, Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP box set of Jagged Little Pill presents the landmark effort in audiophile-grade sound for the first time.

A key part of the record’s appeal and accessibility — Glen Ballard’s smooth production, touches that help Morissette’s exposed-nerve fare seem more accessible and melodic — comes through on this special 30th anniversary edition with an openness, presence, and dynamic explosiveness that make the vocalist’s songs that much more real and visceral.

Side One:
1. All I Really Want
2. You Oughta Know
3. Perfect

Side Two:
4. Hand in My Pocket
5. Right Through You
6. Forgiven

Side Three:
7. You Learn
8. Head over Feet
9. Mary Jane

Side Four:
10. Ironic
11. Not the Doctor
12. Wake Up

Just two years after Madonna co-founded the Maverick record label back in 1992, the company signed a then relatively unknown 20-year-old Morissette. Just over a year later and her debut album for the label had been released and proved to be the smash record the label had envisioned.

With total sales now in excess of 33 million units globally, the album not only cemented Morissette’s star status, but went 16x platinum in the US, became the best-selling debut album of all time and garnered the singer five out of the nine GRAMMY Awards she was nominated for in 1996, not to mention taking out the number one spot in a staggering 14 charts around the world.

But this album is about so much more than just groundbreaking statistics — it’s a powerful album about personal experiences. Jagged Little Pill surfaced at a time when grunge was at its peak and although Morissette presented a strong, multifaceted woman, open and honest, she hadn’t ridden the same wave that her feminist peers like Courtney Love and Ani Di Franco had done. Instead, she had received success with her first two pop albums in her native Canada.

A total of six singles were released from the album, with all of these songs (except “All I Really Want”) entering the top ten in various charts around the world and “Ironic” taking out the #4 spot on the Billboard Hot 100, her highest charting single in the US. But it was “You Oughta Know” that set the tone for the album and gave license to a type of female sexuality and unabashed raw anger not seen on a commercial scale.

Morissette delivered an opus of immeasurable beauty on Jagged Little Pill, a beauty entrenched in her psyche, her anger, her lovelorn heart and her hope. She created a fluidity and slickness within this album rare for a twenty-one-year-old novice artist. She kept her words raw and articulated emotions and feelings that many women had felt too ashamed to even acknowledge, let alone put out there for the whole world to hear.

Ironic? Anything but. Jagged Little Pill transcends generations, gender, and trends. As Morissette sings on the opening “All I Really Want,”, the album represents “deliverance” — “a place to find common ground.”

1/2" / 30 IPS analog master to DSD 256 to analog console to lathe.

Official Purchase Link

For those unaware, this is Miles Davis’ final collaboration with arranger Gil Evans and yields watershed innovations: Flamenco-themed Sketches of Spain spins graceful webs of Sound and Emotion.

Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers. For their final act, they created Sketches of Spain, a peak moment in each luminary’s legacy.

The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis’ lyrical methods in a tender ceremony that resonates more than six decades after its original release.

Part of Mobile Fidelity’s Miles Davis restoration series, this 1960 landmark has been afforded the ultimate white-gloves treatment for its 65th anniversary. Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing, this UltraDisc One-Step 33rpm 180g LP set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record’s enjoyment.

You can now hear the full-range responsiveness of the woodwinds, strings, and percussion, all of which come alive with superior definition and detail.

The beautiful presentation of this UD1S set befits the record’s historical importance. Housed in a deluxe slipcase, it features a special foil-stamped jacket and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP.

This reissue is made for discerning listeners who desire to fully immerse themselves with the album. And who wouldn’t want to go deep with Sketches of Spain?

Side One:
1, Concierto de Aranjuez
2. Will O’ the Wisp

Side Two:
3. The Pan Piper
4. Saeta
5. Solea

Gil Evans’ style of writing is very unique in my opinion. I’m actually surprised that no one else has recorded Sketches of Spain in its entirety. It’s sometimes played at colleges but never professionally. I’d love to hear a newer recording of it, without all the cuts and mistakes, because even though it’s brilliant, it is not wholly perfect.

As different for Miles as Kind of Blue and Bitches Brew, Sketches of Spain brings Davis into the realm of Spanish classical music. The album’s piece de resistance is its opening track, Joaquin Rodrigo’s Concierto de Aranjuez, originally written for Spanish guitar and orchestra (original scoring can be heard on The Romero’s 1967 album for Mercury’s Living Presence Series).

It is a beautifully melodic piece in B minor which Davis plays on muted flugelhorn, with an orchestra arrangement by Gil Evans. The rest of the album is also outstanding, but for those whose experience with Miles Davis’ other albums may find this one somewhere out in left field. This is a jazz musician playing something totally outside his usual genre and he does it superbly.

Ranked #358 on Rolling Stone’s 500 Greatest Albums of All Time, deemed a work of unparalleled grace and lyricism by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken jazz in a new direction, the Grammy Award-winning effort has never been better.

1/4" / 15 IPS analog master to DSD 64 to analog console to lathe.

Official Purchase Link

A Modicum Of Blues finds tenor saxophonist Ivo Perelman in dialogue with some of today’s most inventive improvisers: Nate Wooley (trumpet), Matt Moran (vibes), Mark Helias (bass), and Tom Rainey (drums).

Rather than a direct dive into blues forms, the album refracts blues gestures through free improvisation—shaped by holler-and-response patterns, playful interludes, and lyrical exchanges.

Perelman reins in his characteristic ferocity, creating space for delicate textures, room for solos, and layered group conversations. The result is a set of five expansive pieces balancing sensitivity, energy, and joy in spontaneous creation.

1. A Modicum Of Blues - Part 1 [13:38]
2. A Modicum Of Blues - Part 2 [4:57]
3. A Modicum Of Blues - Part 3 [10:26]
4. A Modicum Of Blues - Part 4 [7:32]
5. A Modicum Of Blues - Part 5 [10:01]

With Perelman at the helm, meaning he ensures each and every track tells its own story, paints its own vicarious soundscape, the group open their highly impassioned new recording on the jauntily adventurous Part 1 and then we get brought forth the melodious free-range joy of Part 2, the lonesome yearn, at first, latterly a scattered array of playfully mischievous beats within Part 3, the set rounding out on the late night, sculky dark city streets of Part 4, coming to a close on a quite beautiful interaction of musicians that come to the fore on Part 5.

Musicians:
Ivo Perelman, sax
Nate Wooley, trumpet
Mark Helias, bass
Tom Rainey, drums

Official Purchase Link

Ivo Perelman @ Facebook

“It’s a highway, filled with deep, exotic colors and beautiful delicate things as well as the perils that come from moving so fast,” says Dar Williams, describing modern life.

On her 13th album, Hummingbird Highway, out September 12th, 2025 on Righteous Babe Records, Williams celebrates the colors she glimpses from her vantage as a touring musician. “I was a kid from the suburbs who listened when her hippie teachers said to get out in the world,” Williams muses.

Hummingbird Highway is the latest chapter in a richly unfolding story. Drawing on her experience as a playwright, Williams populates her latest album with nuanced characters that come alive in the space of a few minutes.

Since 2013, Williams has been leading songwriting workshops where she teaches students to let songs find their own trajectories. The musician, author (What I Found in a Thousand Towns, How To Write A Song That Matters) and mentor will start her Hummingbird Highway 2026 tour in New Jersey in early February and conclude it with a week long stint in the UK. Many notable towns and cites will be visited in between, including Chicago, Nashville, Seattle, Los Angeles, Boulder and NYC.

1. Hummingbird Highway [3:56]
2. All is Come Undone [4:42]
3. Tu Sais Le Printemps [3:48]
4. The Way I Go [4:37]
5. I Want to See the Bright Lights Tonight [3:20]
6. Sacred Mountain [4:32]
7. Maryland, Maryland [3:32]
8. Put the Coins on His Eyes [4:06]
9. What Bird Did You See [3:59]
10. Olive Tree [4:49]

As hummingbirds and folk singers fly, they gain perspective and not just distance, and so with this in mind, Dar opens her new album on the lightly-spirited title track Hummingbird Highway and the harmonious lush All is Come Undone, the Parisian-smooth, bossa nova imbibed Tu Sais Le Printemps, and then we get the strength of The Way I Go and the rambunctious countrified gem I Want to See the Bright Lights Tonight.

Along next is the generously impassioned Sacred Mountain which is itself backed by the spirited rumble of Maryland, Maryland, the melodious Celtic-imbibed boatman lore within Put the Coins on His Eyes, the set rounding out on the dulcetly breathy, beautifully sculpted balladry of What Bird Did You See, closing all-too-soon on the effortlessly dreamy hipsway that comes threaded throughout Olive Tree.

Official Purchase Link

Dar Williams - Tu Sais Le Printemps (Official Lyric Video)

In her first solo recording for AVIE in 2019, Sarah Beth Briggs’ performances of music by Robert Schumann and Johannes Brahms were described as “81 minutes of pianistic Heaven” by International Piano Magazine.

In her latest offering, Small Treasures, Sarah returns to two of those composers’ greatest sets of miniatures: Schumann’s piano cycle Waldszenen and Brahms’s 4 Klavierstücke, Op.119, his final statement for solo piano.

Alongside these, Sarah sets Schumann’s much loved Arabeske from earlier in his composing career and the delightfully fleeting Impromptu by his wife Clara, together with her 4 Pièces fugitives, much lauded in her lifetime.

The remaining ‘Treasures’ transport the listener to 20th-century France, comparing works by two members of Paris’s composing circle ‘Les Six’ – Francis Poulenc’s evocative 3 Novelettes (written across a 30-year time span) and Germaine Tailleferre’s Sicilienne.

As an encore, Sarah – a former International Mozart Competition winner – ends with a tiny gem by Wolfgang Amadeus: his 1789 Kleine Gigue in G in which light-hearted playfulness mingles with forward-looking chromaticism, miraculously seeming to find common ground with all of the works from the subsequent two centuries included on Small Treasures.

ROBERT SCHUMANN (1820–1856)
Waldszenen, Op. 82
1. I. Eintritt [2:07]
2. II. Jäger auf der Lauer [1:33]
3. III. Einsame Blumen [2:44]
4. IV. Verrufene Stelle [3:55]
5. V. Freundliche Landschaft [1:12]
6. VI. Herberge [2:13]
7. VII. Vogel als Prophet [3:20]
8. VIII. Jagdlied [2:52]
9. IX. Abschied [3:54]

CLARA SCHUMANN (1819–1896)
10. Impromptu in E Major [2:45]

Quatre Pièces Fugitives, Op.15
11. I. Larghetto [3:09]
12. II. Un poco agitato [2:25]
13. III. Andante espressivo [5:34]
14. IV. Scherzo [2:35]

ROBERT SCHUMANN
15. Arabeske in C Major, Op. 18 [6:51]

FRANCIS POULENC (1899–1963)
Trois Novelettes, FP 47/173
16. I. Modéré sans lenteur [2:57]
17. II. Très rapide et rythmé [1:51]
18. III. Andantino tranquillo [2:45]

GERMAINE TAILLEFERRE (1892–1983)
19. Sicilienne [3:15]

JOHANNES BRAHMS (1833–1897)
Vier Klavierstücke, Op. 119
20. I. Intermezzo. Adagio [4:09]
21. II. Intermezzo. Andantino un poco agitato [4:55]
22. III. Intermezzo. Grazioso e giocoso [1:39]
23. IV. Rhapsody. Allegro risoluto [5:24]

WOLFGANG AMADEUS MOZART (1756–1791)
24. Gigue in G Major, K.574 [1:38]

Sarah opens on Robert’s Waldszenen, Op. 82: and the elegance of Eintritt, the pointed Jäger auf der Lauer, the demure Einsame Blumen and the dainty allure of Verrufene Stelle and then we get the spirited Freundliche Landschaft, the lilting Herberge, a giddy stillness personified within Vogel als Prophet and both the triumphant Jagdlied and the sheerness of beauty within Abschied round the work out.

Along next is Clara’s Impromptu in E Major, a sumptuous work that bedazzles and sweeps as if elegance itself were orchestrating it to. Then comes Quatre Pièces Fugitives, Op.15: and the regal Larghetto, the playfully perky Un poco agitato and both the expressive Andante espressivo and the dutifully impassioned Scherzo come forth.

Up next is Robert’s Arabeske in C Major, Op. 18, a generously proportioned work of musical art that ebbs and flows with such distinction to every most perfect moment. Then we get Francis’ Trois Novelettes, FP 47/173: which begins on the quietly strident Modéré sans lenteur, the formidable confidence of Très rapide et rythmé, the piece closing on the beautiful hipsway of Andantino tranquillo.

Then we get brought forth Germaine’s Sicilienne, a straight ahead work that dips and flourishes when required, and yet seems to have a freedom at time all of its very own. Then comes Johannes’ Vier Klavierstücke, Op. 119: and the dainty Intermezzo. Adagio, the fervent Intermezzo. Andantino un poco agitato, the transfixing Intermezzo. Grazioso e giocoso, culminating on the formidable Rhapsody. Allegro risoluto; Wolfgang’s flirtatious Gigue in G Major, K.574 bringing the set to a close.

Sarah Beth Briggs plays Small Treasures - A Musical Preview

Official Purchase Link

www.sarahbethbriggspianist.co.uk

Simply put, The Bells is a delightful, swinging, jazzy Christmas song!

In writing the poetry/lyrics to this most sparkling, most all-embracing of a rather delightful holiday ditty, Margee was inspired by the 1848 Edgar Allan Poe poem, The Bells, changing Poe’s words to make song more joyful, magical & Christmas-like! Zach Brock adds whimsy gypsy jazz with his violin making the song even more fanciful and intriguing!

1. The Bells [6:42]

Margee Minier-Tubbs, composer & lyricist, multi-faceted artist with a diverse international and music background, a degree in Fashion Design from FIT in N.Y., and La Sorbonne, Paris, studied piano and dance, lived and worked in 21 countries, worked as a translator in the Music Industry at MIDEM in Cannes & taught children French though music & art, is married to multi-instrumentalist Premik Russell Tubbs.

Official Purchase Link

www.margetoile.com

www.margetoilerecords.com

Fans of the New York Yankees might already be familiar with Americana artist Eric Harrison, whose tune “Opening Day” has been an annual spring training staple on YES, the team’s official broadcast network.

Today, after teasing listeners with dynamic singles such as “Accidental Poetry” and “Bleecker Street,” the New Jersey-based singer and songwriter releases his eighth studio album “Bittersweet.”

Boasting 12 tracks, “Bittersweet” is the culmination of a lifetime of admiration for great thinkers and artists, musical and otherwise. Harrison draws on the musical and philosophical frameworks of Cole Porter, Bob Dylan, Marcus Aurelius, and others, confronting head-on his arguments with desire, deprivation - and, finally, acceptance - to provide nostalgia-fueled commentary on life, love, and . . . New Jersey.

1. Laughing at the Guillotine
2. One Day
3. Oblivion
4. Dominique #2
5. Sing What I Can’t Say
6. Bleecker Street
7. Love You Less
8. Mary Full of Grace
9. Accidental Poetry
10. When the Fever’s Broken
11. Sal’s Place
12. Diner

A trial attorney by day, Harrison has been making music for three decades, and continues to on this wholly impassioned new recording which opens on the rhythmic rocker Laughing at the Guillotine, the strident guitar rock of One Day and the melodiously harmonic storytelling within Oblivion, and then we get the mid-tempo Dominique #2, the balladry of Sing What I Can’t Say and the free-wheeling Bleecker Street.

Up next is the Americana/folk-hued Love You Less, the easy going Mary Full of Grace and the enjoyable Accidental Poetry and they are in turn followed by the gratifying flow of When the Fever’s Broken, the gritty rocker Sal’s Place, the set closing on some genial grooves that drive Diner.

“The 12 tracks on my new record ‘Bittersweet’ are the shiniest musical tokens to spill out over the three years since my last album ‘No Defenses.’ I’m cautiously optimistic that there will be at least a few more gems down the chute before I’m done.”

“Bittersweet” is a continuation of Harrison’s decade-long collaboration with producer Kevin Salem and is now available on all streaming platforms. The album will also be available on limited edition CD and vinyl, with the track list split between two sides titled “Appetite” and “Equanimity,” aptly reflecting the lyrical themes throughout.

Official Apple Purchase Link

www.ericharrisonmusic.com

Eric Harrison @ Facebook

For those unaware, legendary vibraphonist Joe Locke reunites with pianist Phil Markowitz for Smoke and Mirrors, a deeply personal live duo recording that celebrates four decades of friendship and musical partnership.

The seven-track collection features six original compositions alongside a stunning interpretation of ‘Soul Eyes’ (by Mal Waldron). Locke contributes four pieces including the title track, ‘Dawning Dance’, and ‘Broken Toy’, whilst Markowitz offers three works: ‘Seven’, ‘Sno’ Peas’, and ‘Ambushed’. Together, these compositions showcase the remarkable telepathic understanding that defines their musical dialogue.

Recorded live at East Stroudsburg University, the collection reflects their extraordinary musical symbiosis developed since their first meeting when Locke was just 13.

This remarkable spontaneous recording documents not only their accumulated wisdom but their enduring joy in collaborative music-making.

1. Smoke And Mirrors
2. Seven
3. Dawning Dance
4. Soul Eyes
5. Sno’ Peas
6. Broken Toy
7. Ambushed

Smoke and Mirrors, which stands as a testament to the power of sustained musical friendship, offering listeners an intimate glimpse into the creative process of two master musicians at the peak of their collaborative artistry, opens on the refreshingly vibrant Smoke And Mirrors and the flourishing, at first, poignantly peaked latterly Seven and then we get the free flowing musical majesties sewn within Dawning Dance, the delightfully decadent Soul Eyes, the sparkling Sno’ Peas, the set rounding out on the lavishly opulent Broken Toy, coming to a close on the grandeur of Ambushed.

“History. If I’ve got it with anyone, I’ve got it with Phil Markowitz,” reflects Locke. “This recording is a meaningful document for me not only because it reflects the amount of dedication, life experience and learning accumulated since those early days, but also because it’s a testament to the joy of music making and an enduring friendship.”

For Markowitz, the duo format represents the ultimate test of musical communication. “The duo is the most intimate musical improvisational environment. You must have absolute trust and communication, or the music fails. Joe Locke and I have that sympatico, and that is reflected in these selections.”

www.joelocke.com

www.philmarkowitzjazz.com

Celebrating the 50th Anniversary of the special, LMFP is thrilled to present the premiere release of Vince Guaraldi’s soundtrack for 1975’s You’re a Good Sport, Charlie Brown.

This 45 RPM 12-inch LP includes the complete 14 track score plus never before heard music - also celebrating 75 years of Peanuts®. The vinyl is made out of recycled record materials.

The classic special was written and created by Charles Schulz, directed by Phil Roman, and produced by Bill Melendez and Lee Mendelson. Guaraldi’s score is finally available on CD, vinyl and digital.

The record was mixed and mastered for audiophiles, jazz lovers, and Peanuts fans everywhere from the original 2-inch session tapes to a 192kHz/24bit master. Beyond the composer’s playing, Seward McCain plays electric bass, Mark Rosengarden plays drums, and John Scott Trotter supervised the music.

And there is also a magnificent first time ever moment here as this is the very first time that Peanuts animation has appeared on a Zoetrope album. Meaning when the record plays at 45RPM, scenes from the special come to life! The action from the cartoon plays right along with the music on your turntable!

The record includes fresh takes on Peppermint Patty, and Linus and Lucy, and adds a special bonus track, You’re a Good Sport, Charlie Brown (Unused Opening Cues) (performances left out of the special, that now start the B-side).

Motocross is the featured theme, and there are four additional bonus tracks from (1973 LMFP project) Bicycles Are Beautiful scored by Guaraldi, who is joined by McCain on bass and Glenn Cronkhite on drums for those tracks.

Side A:
1. Motocross
2. Peppermint Patty
3. You’re a Good Sport, Charlie Brown (Centercourt)
4. Fanfare / Fanfare (Alternate Take) / Hospital Scene / Hospital Scene (Bonus)
5. Bass Blues
6. Linus and Lucy
7. Motocross (Reprise)

Slipping the vinyl record out of its sleeve, marveling at the beautiful 45 RPM eco-black vinyl aspects of this release, I placed it onto the record player, gently dropped the needle and sat back to enjoy the first side.

Up first is the counted in, spirted Motocross, the free flowing majesties of Peppermint Patty and the bluesy You’re a Good Sport, Charlie Brown (Centercourt), the royally-imbued, at first, latterly just lovely tones of Fanfare / Fanfare (Alternate Take) / Hospital Scene / Hospital Scene (Bonus), the short but emphatic Bass Blues, the side rounding out on the smoothness of Linus and Lucy and the funky Motocross (Reprise).

Side B:
1. You’re a Good Sport, Charlie Brown (Unused Opening Cues)
2. The Great Pumpkin Waltz
3. Motocross (2nd Reprise)
4. Motocross (3rd Reprise)
5. Motocross (4th Reprise)
6. Motocross (5th Reprise Extended with Additional Piano)
7. Lunch Theme / Motocross (6th Reprise)
8. You’re a Good Sport, Charlie Brown (Reprise)
9. Bicycles are Beautiful (Reprise)
10. Bicycle Ballad (Medley)
11. Bicycle Bounce (and Reprise)
12. Bicycle Wizard (and Reprise)

Flipping the vinyl over, and this quite wonderous soundtrack continues onward with the easy listening of You’re a Good Sport, Charlie Brown (Unused Opening Cues), a crisper rendition of the famous The Great Pumpkin Waltz, and then come the quartet of Motocross themes: the synthtastic Motocross (2nd Reprise), the lushly orchestrated Motocross (3rd Reprise), the Christopher Cross-esque beauty of Motocross (4th Reprise), and the pulsing Motocross (5th Reprise Extended with Additional Piano).

Then we are gifted the smooth elegance of Lunch Theme / Motocross (6th Reprise), a reprise of You’re a Good Sport, Charlie Brown, and finally the four bonus Bicycles cuts: the ragtime fare of Bicycles are Beautiful (Reprise), the low slung beauty of Bicycle Ballad (Medley), the playful Bicycle Bounce (and Reprise), the set coming to a close on the spirited Bicycle Wizard (and Reprise).

50+ years in the making, Clark Germain mixed the album at WonderWorld Studio, Vinson Hudson restored and mastered the record, and it was produced by Sean and Jason Mendelson.

The vinyl includes a 4-page insert with art from the special, liner notes that give a track-by-track analysis by producer Sean Mendelson, and notes by producer Jason Mendelson and Derrick Bang (author of Vince Guaraldi at the Piano) along with an essay by Craig Schulz.

Watch The ZOETROPE In Action (with over 825k views!)

Official Purchase Link

www.mvdshop.com

Brazilian guitarist and composer, Roberto Montero resides in Los Angeles, where he works on live and studio music production.

His work credits include: singer & guitarist with Grammy Award winner Sergio Mendes at the Blue Note in Tokyo, Japan, in Morocco, and across the United States, singer & guitarist on the soundtrack of Century Fox Films movie “Rio 2”, Walt Disney “Mickey Mouse Goes to Carnaval”, guitar consultation/recording for ABC’s “Grey’s Anatomy”, animated films “Papito” & “The Golden Hour”, performances at ”John Pisano’s Guitar Night”, “Honorary Oscars – Governor’s Award” (house band/2017 – present), and appearances with additional artists on NBC’s “The Tonight Show”, NBC’s “The Voice”, “Le Zenith Paris” (FR) and other venues.

Also teaching guitar at LACM – Los Angeles College of Music for over 20 years, his brand new album is entitled Todos os Tempos and is releasing October 17th, 2025.

1. Igarapé (Caminho de Canoa) / River Stream (Way of the Canoe)
2. Valsa do Tempo Parado / Static Time Waltz
3. Vila Rica
4. Born Balaio / Hamper Box
5. Luz Da Lua / Light of the Moon
6. Chorando de Rir / Laughing ’Till It Hurts
7. Nem Tempo New Distância / Neither Time Nor Distance
8. De Duas, Uma / One Out of Two
9. Aquele Mar / The Sea Over There
10. Vou Mas Fico / Gone But Still Here

The Brazilian musician, composer and producer opens his album with the sumptuously combination of the elegant Igarapé (Caminho de Canoa) and the all-embracing rhythms within River Stream (Way of the Canoe), and then we get the demure finesse of Valsa do Tempo Parado / Static Time Waltz, the smooth Vila Rica, the harmonically melodious Born Balaio / Hamper Box and the lightly grooved Luz Da Lua / Light of the Moon.

Along next is the late night embrace of Chorando de Rir / Laughing ’Till It Hurts and the dulcet Nem Tempo New Distância / Neither Time Nor Distance and they are in turn backed by the guitar-driven De Duas, Uma / One Out of Two, the graceful Aquele Mar / The Sea Over There, the set coming to a close on the opulently lithe Vou Mas Fico / Gone But Still Here.

Multi-instrumentalist and composer Nicholas Payton assembles a trio of visionaries with bassist/vocalist esperanza spalding and drummer Karriem Riggins on the album, TRIUNE, which also features guest appearances by Ivan Neville, Erica Falls, Nikki Glaspie, and Otis McDonald.

There is no shortage of remarkable trios in the musical landscape, but few, besides the pathbreaking trumpet player, keyboardist, and composer Nicholas Payton, could bring together three true visionaries and synergize them into one singular creative voice.

That’s just what Payton has done with TRIUNE, his exhilarating new album for Smoke Sessions Records, on which he’s joined by bassist and vocalist Esperanza Spalding and drummer Karriem Riggins.

“TRIUNE means ‘three in one,’ which is exactly how this trio functions,” Payton explains. “Each of us is a leader in our own right, but together we combine to form a unified sound.”

1. Unconditional Love [8:15]
2. Ultraviolet [6:59]
3. Jazz Is a Four-Letter Word [4:54]
4. Let It Ride [7:52]
5. Gold Dust Black Magic [7:20]
6. #bamisforthechildren [5:55]
7. Feed the Fire [7:49]

With Nicholas Payton, Esperanza Spalding, and Karriem Riggins being three of the most distinctive and innovative minds in modern creative music, this brilliantly sculpted new recording opens with the glowing Unconditional Love and then we get brought forth the structured smoothness of Ultraviolet, and the luxuriant Jazz Is a Four-Letter Word.

Along next is the easy grooved funk vibe of Let It Ride which is in turn backed seamlessly by the elegantly silky Gold Dust Black Magic, the euphorically-chanted #bamisforthechildren, the set coming to a close on the fervently rhythmical Feed the Fire.

Musicians:
Nicholas Payton - trumpet, flugelhorn, piano, Fender Rhodes, Clavinet, vocals, tambourine, and handclaps
esperanza spalding - bass and vocals
Karriem Riggins - drums
Nikki Glaspie - vocals on “Ultraviolet”
Ivan Neville - vocals, organ, and Clavinet on #bamisforthechildren
Erica Falls - vocals on #bamisforthechildren
Otis McDonald - vocals on #bamisforthechildren

Official Purchase Link

With sayr: salt | thirst, the first release in his new series of recordings for solo string instrument, Finnish-born guitarist, Arabic oud player and composer Jussi Reijonen offers an intimate, meditative counterpoint to the ambitious 5-movement suite heard on his acclaimed 2022 large ensemble work Three Seconds | Kolme Toista.

sayr: salt | thirst is an exploration of the small, the simple and the sparse; the rugged earthy; the gnarly unpretty; and most of all, of memories of roots and branches; of bare feet in soil; and of paths less – or differently – predetermined.

Rooted in a metaphorical reframing of the concept of “sayr” as found in Arabic music — a musical pathway or unfolding, literally “course” or “motion” —, this solo improvisation becomes a spontaneous exploration through an acoustemological memory palace: a pathway of memory recalled and reimagined through music.

1. salt [16:59]
2. thirst [23:01]
3. salt: sarvi [5:57]
4. thirst: koto [6:18]

Using a set of pre-composed musical gestures as loci or touchstones — like rooms in a memory palace — Reijonen opens this 4-track album on the austere, yet cannily cultivated, organically sewn 17 minute salt and then we get the elegantly humble, masterfully sculpted 23 minute opus thirst, before we are brought forth some thoughtful musical intricacies shown to the fore within salt: sarvi, the work coming to a close on the gently fervent, at times, artfully appealing and rhythmically intriguing at others, thirst: koto.

Official Purchase Link

Elena Ruehr is one of today’s most prolific and acclaimed composer of string quartets whose music has been described as “unspeakably gorgeous” by Gramophone magazine. This latest triptych of works for the genre takes inspiration from much-loved locales in the higher latitudes: the composer’s Michigan home, a favorite spot on Cape Cod, and the capital city of Iceland.

String Quartet No. 9, “Keweenaw” evokes the small rural town in Michigan’s beautiful Upper Peninsula where Elena grew up. This quartet explores various parts of that world, from native berries, early autumn blizzards, ghost towns and the majestic Lake Superior.

String Quartet No. 10, “Long Pond” captures moments throughout the days on a beautiful small lake on Cape Cod, Massachusetts, where Elena has spent much time and gathered precious memories: a brightly rising sun, a morning dog walk, sailing on the harbour, a “nor’easter” storm, a lovely yet mysterious full moon rising above and reflecting in the water.

String Quartet No. 11, “Reykjavík”, pays seasonal homage to Iceland’s capitol city, with its long winter nights, the sun peeking through the haze as spring approaches, greeted with celebrations of singing and dancing for the lighter days ahead.

Quartet ES is a foursome of diverse and engaging individuals – Anton Miller and Ertan Torgul, violins; Rita Porfiris, viola; and Jennifer Kloetzel, cello – that come together to create cutting-edge programming, visionary projects and dynamic educational initiatives. A capacious catalogue of commissioned works includes these three by Elena Ruehr.

The Northern Quartets
String Quartet No. 9 ‘Keweenaw’
1. I. A Thimbleberry Ripens in the Sun [5.01]
2. II. A Blizzard [3.03]
3. III. Central (A Ghost Town) [4.02]
4. IV. Lake Superior at Night [3.49]
5. V. Wolf Chase [3.31]
commissioned by Michael Leimer for Quartet ES

String Quartet No. 10 ‘Long Pond’
6. I. Moonrise [4.26]
7. II. Dogs on the Beach [3.03]
8. III. Sunrise [3.04]
9. IV. Sailing [3.11]
10. V. Nor’easter [3.48]
commissioned by Quartet ES

String Quartet No. 11 ‘Reykjavík’
11. I. Long Night [10.45]
12. II. Interlude: the sun rises through a thin veil [1.54]
13. III. Spring Song and Dance [6.35]
commissioned by Quartet ES

Quartet ES Musicians:
Anton Miller, Ertan Torgul, violins
Rita Porfiris viola · Jennifer Kloetzel, cello

This simply magnificent new recording opens on String Quartet No. 9 ‘Keweenaw’: and the stirring A Thimbleberry Ripens in the Sun, the impassioned A Blizzard, the serene Central (A Ghost Town), before we are brought forth the sterner fare of Lake Superior at Night and the formidable sounds orchestrated within the propellent Wolf Chase.

Next up is String Quartet No. 10 ‘Long Pond’: which opens on the tentative nature of Moonrise, the playful Dogs on the Beach and an aching yearn that threads through Sunrise, with both the expressive Sailing and the sternly arced Nor’easter closing the piece.

Then we get the String Quartet No. 11 ‘Reykjavík’: which begins with a yearnful ode that drives Long Night, a stoically noir Interlude: the sun rises through a thin veil is then upon us, the work culminating with the flirtatiously sculpted Spring Song and Dance.

Official Purchase Link

www.elenaruehr.org

www.quartetes.com

The age-old spirit of the composer-performer lies at the heart of the 10-year collaboration between cellist-composer Christoph Croisé and composer-saxophonist Daniel Schnyder (pronounced SHNEE-der).

This resulting album (out October 3rd, 2025 via AVIE Records) features two of Daniel’s concertos, both commissioned by Christoph, alongside numerous world premieres of solo and chamber works. Christoph shines in the Concerto for Cello, Percussion and String Orchestra, whilst the two Swiss compatriots share the limelight in Concerto Populaire for soprano saxophone, cello, percussion and string orchestra, both backed by members of Christoph’s hand-picked Beyond Modern Orchestra, an ensemble dedicated to the creation and performance of new music.

Christoph brings in other close collaborators, including Alexander Panfilov for Jazz Sonata for Cello & Piano, harpsichordist Peter Gorobets for Cello BLU – another Christoph commission that explores the unique timbral relationship between the two instruments – and an octet of leading European cellists for Cubac – a fusion of Cuban rhythms and Bachian-counterpoint.

Throughout, Daniel’s compositions seamlessly fuse a melting pot of musical styles, including classical, jazz, Middle Eastern, African and Latin American. Christoph, who himself is rapidly gaining renown as a composer, says, “There is no more fitting way to celebrate contemporary music than by performing it alongside the composer himself.”

DANIEL SCHNYDER (b. 1961)
Concerto for Cello, Percussion & String Orchestra*
1. I. [7.18]
2. II. [7.44]
3. III. [7.22]
with Ruven Ruppik, percussion
Beyond Modern Orchestra

Concerto Populaire*
for Soprano Saxophone, Cello, Percussion & String Orchestra
4. I. [9.40]
5. II. [6.36]
6. III. [7.17]
with Daniel Schnyder, soprano saxophone · Ruven Ruppik, percussion
Beyond Modern Orchestra

7. Ad Aeternam* [5.34]
8. Jazz Sonata for Cello & Piano [6.20]
with Alexander Panfilov, piano

9. Cello BLU* [6.10]
with Peter Gorobets, harpsichord

10. CUBAC [6.03]
version for 8 Cellos*
Swiss Cello Octet

11. Karachi [3.14]
Nay Concerto: VI., adapted for Cello, Soprano Saxophone, Percussion & String Orchestra*
with Daniel Schnyder, soprano saxophone · Ruven Ruppik, percussion
Beyond Modern Orchestra

* World Premiere Recordings

This beautifully crafted new recording opens on Concerto for Cello, Percussion & String Orchestra and the strident fare of I which is followed by the stoically driven II and the forcefully fluid III; and then we get brought forth Concerto Populaire, which begins with the playful I and the ornately beautiful II, rounding out on the affecting III.

Along next is the forlorn, at times, yet melodically opulent at others Ad Aeternam, which is backed by the symmetrically emboldened Jazz Sonata for Cello & Piano, the set rounding out on the scintillating Cello BLU, the passionately charged CUBAC, closing on the Eastern-imbibed musical decadence crafted within Karachi.

Official Purchase Link

Daniel Schnyder, Cello Concerto, Christoph Croisé, Cello, Beyond Modern Orchestra [Official Video]

www.danielschnyder.com

www.christophcroise.ch

Composer-pianist Bruce Wolosoff describes the essence of his new album, Blue Mantra, as an engagement in multiple dialogues – between music and visual art, between the blues and chamber music, and between various moments in his creative life.

The title track was inspired by a painting of the same name by his artist-wife Margaret Garrett. Similarly, Matisse Fantasies arose from seeing a charcoal drawing by the celebrated French impressionist.

Blues for the New Millennium, commissioned by the Smithsonian Institution to commemorate the turn of the century, expresses a “before” and “after”, and marked a turning point in Bruce’s compositional style as he embraced a more directly lyrical, melodic compositional voice.

All three works are scored for clarinet, piano and varied strings, and revel in bluesy lyricism. Alongside Bruce’s formidable pianism is the virtuosity of his collaborators: clarinettist Narek Arutyunian, violinists Deborah Buck and Michelle Ross, and cellist Clarice Jensen.

Matisse Fantasies
1. I. Femme assise en robe longue [7.24]
2. II. La Violoniste à la fenêtre [8.08]
3. III. La Danse [7.00]
Narek Arutyunian, clarinet · Michelle Ross, violin · Clarice Jensen, cello
Bruce Wolosoff, piano

4. Blues for the New Millennium [16.41]
5. Blue Mantra [8.43]

With all three works having been scored for clarinet, piano and varied strings, Wolosoff opens on Matisse Fantasies, and the veritably shimmering Femme assise en robe longue, the playfully flirtatious La Violoniste à la fenêtre and the affectively ambient, at times sternly atmospheric La Danse; and then we get the stridently sculpted, all embracing Blues for the New Millennium, the set rounding out on a stoically dulcet nature drawn from within the title track Blue Mantra.

Musicians:
Narek Arutyunian, clarinet · Deborah Buck, violin
Bruce Wolosoff, piano

Official Purchase Link

Bruce Wolosoff- Matisse Fantasy #3 “La Danse” [Official Video]

www.brucewolosoff.com

Paris Amour is not an album about Paris, but it is very much an album of Paris. For singer, songwriter, composer and producer Keren Ann, every song that she writes represents a chapter of her life and takes on an identity deeply entwined with the place in which it was created.

Very often one album can contain snapshots from several continents, reflecting her homes in France and New York City and her travels across the globe. Paris Amour, performed in French, is unique in having been crafted entirely in her home in Paris’ Montmartre neighborhood.

“After years of writing songs,” Keren Ann says, “I find that the environment in which you write tends to become a big part of the project. Many of the songs on this album have nothing to do with Paris – many of them travel to the seaside – but all of them feel like horizons viewed from my living room.”

Out September 12th, 2025 via her own Bring Back Music label, Paris Amour is Keren Ann’s tenth solo album, a stunningly diverse and deeply personal collection of songs that captures a range of emotions with the vibrancy and nuance of a film score, produced by the composer herself.

1. La Sublime Solitude [Sublime Solitude]
2. Paris Amour [Paris Love]
3. Les Désirs Fatigués Des Navires d’Argent [The Tired Desires of Silver Ships]
4. Comme Si La Mer Se Divisait [As if the sea were dividing]
5. La Musique À Fond [Loud music]
6. L’Expérience Étrange De L’Inégal [The Strange Experience of the Unequal]
7. Les Remparts De Saint Malo [The ramparts of Saint Malo]
8. Que La Vie Est Belle [How good life is]
9. L’Écho Des Tirs [The Echo of Shots]

Fully flush with reminiscent reverbs from the adorable sixties and the lushly vivacious seventies, expertly veined with electro-pop pulses, this quite exquisite new recording opens on the smoothly airy La Sublime Solitude [Sublime Solitude] and then we get an effortless grace that flows through the dreamy title track Paris Amour [Paris Love], the dutifully alluring Les Désirs Fatigués Des Navires d’Argent [The Tired Desires of Silver Ships] and then we get the orchestrally humbling beauty of Comme Si La Mer Se Divisait [As if the sea were dividing] brought forth.

Along next is the upbeat and electro-poppy La Musique À Fond [Loud music] and the gently driven, swirling nature of L’Expérience Étrange De L’Inégal [The Strange Experience of the Unequal] and they are backed seamlessly by the warmly poem-esque Les Remparts De Saint Malo [The ramparts of Saint Malo], the set rounding out on the beautifully woven rhythmic sounds and beats of Que La Vie Est Belle [How good life is], coming to a close on the fervently sculptured electro-pop fare of L’Écho Des Tirs [The Echo of Shots].

“Some of the subjects that I speak about can be very dark,” Keren Ann admits. “But for me, there is something very luminous about this record.”

Indeed, Paris Amour contains joy and mourning, sensuality and yearning, passion and loneliness, amour and musique – all the emotions and sensations that thrive in a city with the richness and pulse of Paris.

Official Purchase Link

Keren Ann - “Paris Amour” (Official Lyrics Video)

www.kerenann.com

Hitmaker and Nashville Songwriter Hall of Fame member, Kent Blazy has just released his brand new album, Where I Am Now.

Sparked by the reflective single “I Miss the America I Grew Up In,” Where I Am Now traces Kent Blazy’s journey back to his roots and the power of music to shape a life.

Culled from a dozen-plus new writes, the 11-track set—with trusted collaborators—captures the where, when, how, and why of his story in song. The new music is will be available everywhere on music streaming and download platforms on Oct 24th, 2025.

Recorded at Allentown Recording Studio in Nashville, the eleven-song project honors his remarkable journey. It showcases compositions penned by Kent Blazy, except for the first track, which was co-written with Cory Batten.

“Where I Am Now may be my favorite project I’ve ever done,” kent explains. “It reflects on how far I’ve come; looking back on where I started, where my songs began, and feeling deep gratitude for the journey that has brought me here. From growing up as a child in Woodstock, N.Y., to being inducted into the Nashville Songwriters Hall of Fame, and all the twists and turns along the way, this project captures the heart of that story.”

1. Once Upon A Rhyme
2. On Any Given Day
3. Thanking You Now
4. American Dreamers
5. A Breeze
6. Gone Side of Goodbye
7. The America I Grew Up In
8, Music Meant Something
9. My Wrecking Ball
10. Sometimes
11. Where I Am Now

The American country songwriter Kent Blazy, born in Lexington, Kentucky, now calling Nashville home, brings us his expertly sculpted new recording, opening on the quietly countrified Once Upon A Rhyme and the rhythmically upbeat On Any Given Day, and then we get the infectiously flavored Thanking You Now, the Springsteen-esque brilliance of American Dreamers and then we are gifted the light and, well, breezy A Breeze.

Along next is the beautiful Americana-vibed Gone Side of Goodbye and the free flowing, mid-tempo rock of The America I Grew Up In, and they are in turn backed by the gently rambunctious Music Meant Something, the deeply grooved My Wrecking Ball, the set rounding out on the rebellious guitar work showcased within the melodious rocker Sometimes, coming to a close on the troubadour storytelling within Where I Am Now.

The album showcases the talents of an exceptional team of musicians and engineers who helped bring Kent Blazy’s vision to life. Studio musicians include Billy McClaran on saxophone for “On a Breeze,” Steve Allen (guitars), Kevin Murphy (drums), Lee Francis (bass), and Blazy himself on guitars and vocals.

Engineering was handled by Chris Utley and James Viega, with mastering by Utley, ensuring the project’s warm, dynamic sound that perfectly complements the heartfelt storytelling throughout.

Stay current with Kent Blazy on his website and you can also follow him on Facebook and Instagram and watch videos on his official artist YouTube page.

www.kentblazy.com

Kent Blazy @ YouTube

Nina Simone burst into the world with 1959’s Little Girl Blue, and music would never be the same. For over five decades, Nina entertained, enthralled, and educated listeners across her extraordinary recording and performance career.

After a triumphant concert at New York’s Carnegie Hall in 1992, Nina was approached by Elektra A&R executive Michael Alago (whose previous work at the label included Tracy Chapman and Metallica). When asked if Nina was ready to record again, she replied, “Get me the money… then we can talk!”

Modeled around two of Simone’s favorites, Frank Sinatra’s A Man Alone (The Words And Music Of Rod McKuen) and Billie Holidays’ Lady In Satin—with the common element that both were recorded with full orchestral accompaniment, the sessions began.

Backed by a 50-piece orchestra, Simone recorded the material that would comprise A Single Woman with producer Andre Fischer (Natalie Cole’s then-husband and former drummer for the band Rufus).

The ten tracks chosen from the sessions were revelatory, weaving songs about love in the style only Nina Simone could conceive and deliver. Simone recorded more material during the sessions, including covers of Bob Dylan, Prince, The Beatles, and Bob Marley, pointing to a potential follow up, but sadly, A Single Woman would be her final studio album before her passing in 2003.

1. A Single Woman
2. Lonesome Cities
3. If I Should Lose You
4. The Folks Who Live On The Hill
5. Love’s Been Good To Me
6. Papa, Can You Hear Me?
7. Il N’y a Pas D’Amour Heureux
8. Just Say I Love Him
9. The More I See You
10. Marry Me

Bonus Tracks:
11. The Long And Winding Road 12. The Times They Are A-Changin’ 13. Sign ‘O’ The Times 14. Baseball Boogie 15. I’m Gonna Sit Right Down And Write Myself A Letter 16. Do I Move You? (Take 2) 17. The Times They Are A-Changin’ (Alternate Take) 18. No Woman, No Cry 19. Do I Move You? (Take 1) 20. I’m Gonna Sit Right Down And Write Myself A Letter (Alternate Take) 21. Baseball Boogie (Instrumental)

Tracks 17, 19–21 previously unissued

Nina Simone in her prime recorded some fantastic stuff, even when she was a little off-key, so to speak. This original 1993 record is not the great lady in her prime though, I think we can all agree. Her voice had understandably lost its upper range and with the material chosen being so-so, her usual vocal verve for melodies and notes just did not have their usual channels to envelope.

Also, to my mind, the production is just a bit too heavy on strings and her wonderful piano playing seems absent - or at the very best sometimes buried in the mix, which is a great shame.

That said, as this is still Nina Simone after all, her deeply penetrating voice, combined with an absolutely careful pacing and all brought forth through the dramatic delivery she could always summon, does keep most of the songs from becoming overly sappy and/or lost album filler overall.

For here the High Priestess of Jazz-Soul herself harnesses the fear of loneliness and the sagely wisdom of one who has experienced love and will have it again, into an overall beautiful, again albeit somewhat over produced recording.

Oh, and for the record, and to my mind/ear, the title track, Single Woman rivals Billie Holiday’s The End of A Love Affair as one of those prophetic songs that will go on haunting you forever.

Now also included are a bonus of some 11 tracks that enhance the original album perfectly, with four of them never having been issued ever before.

They begin with the soulfully emboldened The Long And Winding Road and a beautifully reverberating cover of The Times They Are A-Changin’ and then we get a quite extraordinary reworked rendition of Prince’s Sign ‘O’ The Times, the fervently-charged Baseball Boogie, and the joyfully free flowing I’m Gonna Sit Right Down And Write Myself A Letter.

Along next is the bluesy brilliance of Do I Move You? (Take 2), an alternate take of The Times They Are A-Changin’ and they are in turn followed by a dutiful reggae bounce found with her version No Woman, No Cry, a first take of Do I Move You?, the set rounding out on an alternate take of I’m Gonna Sit Right Down And Write Myself A Letter, closing on a vivacious instrumental version of Baseball Boogie (Instrumental).

A Single Woman was reissued in 2006, adding seven of those performances left behind. Now, four more previously unissued recordings from those sessions have been added to create A Single Woman: The Complete Elektra Recordings — 21 tracks on CD and double-LP.

Newly remastered, this collection also contains new liner notes from the British Ambassador of Soul, David Nathan, outlining both the recording of the album, but also recounting his nearly three-decade relationship with Dr. Simone — beginning when he formed the UK Nina Simone Appreciation Society in 1965.

Experience this icon’s final studio recordings in the most comprehensive way with A Single Woman: The Complete Elektra Recordings.

Official Purchase Link

A neighbor on death’s door. A small town where people still say “hello.” Friends in a barn attic, making music late into the night. These are the real-life stories that thread through Slow Cooker, the new full-length from Say ZuZu co-founder Jon Nolan.

Rooted in community and recorded mostly live in the upstairs room of Newmarket, NH’s Stone Church Music Club, the album feels handmade - woven from intimate jam sessions, spontaneous connection, and a shared love of storytelling.

It began as a “just for fun” project among longtime friends and grew into something deeper: an ode to slowing down, paying attention, and creating together. The result is a warm, welcoming collection for fans of folk-rock authenticity. Think front-porch honesty with the crackle of a lived-in LP.

Slow Cooker is set for release on September 19th, 2025 via Strolling Bones Records.

1. Someone’s in the Driveway [4:20]
2. On My Own [3:03]
3. Sea Glass [3:38]
4. Frozen Man [4:24]
5. Hidden Glances [3:36]
6. A Bird That Sings [3:09]
7. Mad at Me [3:59]
8. Dust, Sweat & Blood [4:19]
9. Echoes of Borderline [4:49]
10. Goodbye for Now [2:58]

The internationally touring musician and record producer - and who lives in the historic milltown of Newmarket, NH - opens up his dutifully impassioned new recording on the effortlessly smooth Someone’s in the Driveway and the warm countrified twang of On My Own and then we get brought forth the more contemplative aura of Sea Glass, an emboldened Frozen Man, with the gently upbeat, late night porch soiree of Hidden Glances along next.

Up next is the guitar driven, country-blues-rock of A Bird That Sings which is in turn backed by the resolute guitar work of the more stridently cultured ballad Mad at Me, the low slung, troubadour-hued, gritty guitar rocker Dust, Sweat & Blood, the set rounding out on a languishing ache found driving Echoes of Borderline, coming to an all too soon close on the gently acoustic, early morning sounds of Goodbye for Now.

Official Purchase Link

Jon Nolan & Good Co. - Sea Glass (Official Video)

www.jonnolan.net

Jon Nolan @ Bandcamp

For those unaware, recorded at Papis Konaté’s bustling studio in Dakar, Senegal, Tree to Tree is Ashley Maher’s eighth album — and her most intimate and layered to date.

It weaves together fiery Senegalese mbalax, jazz, and West Coast storytelling into a richly rhythmic, globally-rooted sound. Featuring top-tier musicians from Senegal, Benin, Gabon, Congo, and Côte d’Ivoire, the album pulses with lyrical clarity, percussive brilliance, and emotional depth.

Maher’s own musical journey began with her first two albums on Virgin UK during London’s glorious African music heyday of the ’90s. Since returning to Los Angeles, she has continued building bridges with West African (specifically Senegalese) music.

On one hand, her music lives in a parallel space to Alune Wade, Hervé Samb, Cheikh Lô, and Youssou N’Dour. On the other hand, it would sit on the shelf next to Paul Simon, Sting, Peter Gabriel, and Ry Cooder as Western,-but-crossing over.

After recording albums 5–8 in Dakar, she is especially excited about this one. It ranges from acoustic to ferocious mbalax (featuring Youssou Ndour’s bassist and drummer), to songs recorded with an extraordinary current crew of Dakar-based jazz musicians from Benin, Gabon, Congo, and Côte d’Ivoire.

1. Music [4:53]
2. Salt and Pepper [4:02]
3. American in Dakar [4:26]
4. Till the Day [5:00]
5. Galon de Leche [4:11]
6. Dangerous [3:51]
7. Reading the Rings [3:57]
8. Ever Given [3:56]
9. Nenam [3:21]

On what is a vibrant dialogue between cultures — an album forged from decades of collaboration, trust, groove, and joy - it opens on the harmoniously free flowing Music and the rhythmically joyful Salt and Pepper and then we get a delightfully reworked/reworded Sting classic American in Dakar and the translucently emboldened Till the Day.

Along next are the all-embracing melodies found driving Galon de Leche and they are in turn backed seamlessly by the mellifluous Dangerous, the cheerfully honeyed Reading the Rings, the set rounding out on the vibrantly happy Ever Given, coming to a close on the atmospheric, globally rooted cultural sounds of Nenam.

MUSICIANS:
JEAN MERMOSE (Jj Mozart) - keys
PAPIS KONATE - keys
AMADY SIDIBÉ - guitar
THIERNO SARR - bass
ABDOULAYE LO - drums
BABACAR SECK - sabar
SAMBA NDOKH MBAYE - tama
WILLY BOUSSET - bass
ALIOUNE SECK - sabar
MILDAH (PELJACEREL MIAMBANZILA) - trumpet
SILVAIN BOCO - trombone
ASHLEY MAHER - vocals

www.ashleymaher.com

Ashley Maher @ Facebook

For those unaware, Russian-born pianist and composer Arina Oludina proudly announces the release of her debut album Through Different Worlds, recorded in New York City with a stellar ensemble.

The recording documents Oludina’s journey from a classical foundation to a deeply personal voice in jazz, balancing structural elegance, harmonic sophistication, and a modern improvisational sensibility.

Trained from the age of five, Oludina grew up immersed in classical repertoire, performing widely across Russia and Europe before deciding to follow her growing urge to compose and improvise. That pursuit led her to Jazzcampus Basel, where she studied under Brad Mehldau, Aaron Parks, Jorge Rossy, and Larry Grenadier, and where her compositional voice took form — rooted in classical tradition yet open to jazz’s freedom and vitality.

Through Different Worlds begins with “Brooklyn Anytime,” a melancholic jazz waltz composed in Brooklyn and recorded in trio with bassist Charlie Lincoln and drummer David Sirkis. Here, Oludina captures the mingled lyricism and restless pulse of New York, setting the tone for an album in which place and memory continually inform the music.

From there, the mood shifts with “Waterfall,” composed during her studies in Basel. Featuring Azat Bayazitov on saxophone, the piece flows with a sense of inevitability, its cascading lines echoing the imagery of its title while opening the album’s sonic palette.

1. Brooklyn Anytime
2. Waterfall
3. Prelude
4. Shadows
5. When You See The Ocean
6. I Trust You
7. Where Is My Home
8. At the Old Orchard

With Oludina, here on Through Different Worlds, making a confident and eloquent statement, one that also establishes her as a singular new voice on the international jazz scene, she opens on the playfully flirtatious Brooklyn Anytime and the atmospherically charged Waterfall, and then we get brought forth the decadent swirls and twirls that drive Prelude (composed during her studies in Basel and featuring a friend of Exclusive Magazine, the supremely talented Azat Bayazitov on saxophone) and the sheer elegance of Shadows.

Along next is the flourishingly resonant When You See The Ocean which is in turn backed seamlessly by an aching yearn that threads throughout the absorbent, once again saxophone-fed I Trust You, the set rounding out on the sumptuous Where Is My Home, coming to a close on the exquisitely refined At the Old Orchard.

Arina Oludina - Brooklyn Anytime (feat. Сharlie Lincoln and David Sirkis) [Official Video]

Arina Oludina @ YouTube

For those unaware, the duo of tenor saxophonist Ivo Perelman and trumpeter Nate Wooley will release Polarity 4, a pathbreaking document of their long-running musical partnership, November 7th, 2025 on Burning Ambulance Music.

Each volume in the Polarity series has been different from the others, and different from anything else in Ivo Perelman’s vast discography.

Polarity 4 is no exception, as its nine tracks include the first-ever example of overdubbing in his catalog; the opening “(one)” features two Perelman’s and two Wooley’s improvising over and around each other.

Ivo Perelman has released well over 125 albums on labels like Enja, Clean Feed, Leo, Homestead, Cadence, ESP-Disk’ and more. A tireless improviser constantly in search of new sonic vistas and new opportunities to play with others, he is also a visual artist and jewelry designer.

Nate Wooley is a trumpeter, composer and improviser dedicated to sonic exploration and experimental music. In addition to composing and performing, he edited the magazine Sound American for 30 issues over 10 years, and his writing has been published in The Nation, the New York Review of Books, and elsewhere.

Polarity was one of the first two releases on Burning Ambulance Music in 2021, and subsequent volumes arrived in 2023 and 2024. Each installment has received rave reviews from outlets like The Wire, DownBeat, and the Free Jazz Blog.

Polarity 4 will be released on November 7th, 2025 digitally and as a limited edition of 500 CDs in heavy-duty gatefold mini-LP sleeves printed on textured paper, with artwork by Burning Ambulance Music co-founder I.A. Freeman.

1. (one)
2. (two)
3. (three)
4. (four)
5. (five)
6. (six)
7. (seven)
8. (eight)
9. (nine)

With Ivo Perelman and Nate Wooley once again pushing each other to peak performances, and since their peaks are high, so is the level of improvisation, they open on the effectively charged (one) and then brings us a flourishing static within (two), the playfully ambivalent (three) and then the skittish, yet emboldened (four) comes forth.

Along next is the sidewinding, one minute, cautious and pensive the next (five) which is in turn backed by the confidently interspaced (six), the veritably spacial in its makeup (seven), the new set rounding out on the strident fare of (eight), coming to a close on the lightly honed, cautiously-imbibed (nine).

Official Purchase Link

Ivo Perelman @ Facebook

For those unaware, Franck Amsallem is an acclaimed international jazz pianist, playing, recording, and composing for over 40 years. A multi-talented musician, Franck is also much in demand as a composer/arranger, singer, and educator.

Franck has recorded ten CDs under his name and a major collaboration, New York Stories, with Joshua Redman, Roy Hargrove, and Danny Gatton on Blue Note USA. While living in New York City, Franck played as a sideman with Gerry Mulligan, Charles Lloyd, Jerry Bergonzi, Joe Chambers, Maria Schneider, Kevin Mahogany and Harry Belafonte as well as Gary Bartz, Bobby Watson, Rick Margitza, Tim Ries, and Blood Sweat and Tears.

Franck is the recipient of major awards (NEA composition fellowship, Great American Jazz Piano Competition, ASCAP award, Fondation de la Vocation, FACE cultural exchange) in both the U.S. and France.

Just released in 2025 on the Continuo label, The Summer Knows (un été 42) is a trio recording featuring bassist David Wong and drummer Kush Abadey.

1. Blue Gardenia [5:14]
2. La Chanson d’Helene [4:13]
3. Unforgettable [6:08]
4. You Won’t Forget Me [6:28]
5. The Summer Knows (un été 42) [7:16]
6. Agrigento [7:16]
7. Cotton Trails [5:33]
8. It Never Was You [4:27]
9. Morning Star [7:29]
10. Disclosure [3:54]

The pianist/composer/arranger/singer, who has lived his entire life between NY and Paris, opens his divine new album on the deliciously sumptuous Blue Gardenia and the low lying piano balladry of La Chanson d’Helene and then we get brought forth the melodiously upbeat Unforgettable, the sparklingly fluid You Won’t Forget Me and the decadent The Summer Knows (un été 42).

Along next is a strident confidence shown within the driven Agrigento which is in turn backed seamlessly by the spirited Cotton Trails, the gracefully elegant It Never Was You, the set rounding out on the lovingly spirited Morning Star, coming to a close on the regally impassioned Disclosure.

The Summer Knows (un été 42) M. Legrand [Official Video]

Official Purchase Link

www.amsallem.com

For those unaware, Aerostation is a band exploring new boundaries of rock through a contamination of genres and styles: alternative rock, crossover prog, hard rock, electronic music, fine pop, ambient.

It’s a power trio without a guitarist. Liquid keys and strong and powerful guitar-like edited sounds are melted together in an original way and played by Alex Carpani through his custom keytar, while Gigi Cavalli Cocchi’s personal and recognizable touch on drums brings forth a strength within energy.

Alex takes care of the lead and backing vocals whilst Gigi and Alex are accompanied by Jacopo Rossi on bass. Jacopo is a well-known musician from the international metal scene (Dark Lunacy, Nerve, Antropophagus).

Aerostation’s new album is called Rethink and was released worldwide on September 19th, 2025 via Alex’s own label Independent Artist Records. The album consists of 11 songs sung in English and musically speaking is a mix of crossover-prog / hard-prog / alt-rock /electronic-rock with a clear propensity to be combined with visuals, being a suggestive, descriptive and evocative music.

1. The Dive [00:57]
2. A Distant Cry [3:47]
3. Life Is Calling [4:20]
4. Meet Me At The End Of The World [4:06]
5. The Wait Is Over [3:37]
6. Drive My Soul [4:36]
7. Life Is Too Short [3:05]
8. Fly Over Me [4:15]
9. Soulshine [5:47]
10. Run As The Sun Goes Down [4:37]
11. Messiah [5:22]

With Rethink being a starting over period, after life has forced us to change, shed our skin, and take a new direction, Alex opens his brilliant new album on a quietly spacial growth within the short The Dive and then we get brought forth the propellant guitar rocker Distant Cry, the drum-led AOR of Life Is Calling, the rhythmic prog of Meet Me At The End Of The World and the atmospherically-charged The Wait Is Over.

Along next is an emboldened Drive My Soul and the mid-tempo, indie-alt sounds of Life Is Too Short and they are in turn backed seamlessly by the rising rock balladry within Fly Over Me, the melodiously grooved Soulshine, the set rounding out on the synth-driven beauty Run As The Sun Goes Down, coming to a close on the expansive Messiah.

Musicians:
Alex Carpani – lead and back vocals, keyboards, all virtual guitars
Gigi Cavalli Cocchi – drums
Additional musician: Jacopo Rossi – bass

Official Purchase Link

www.alexcarpani.com

For those unaware, acclaimed jazz artist Brian Culbertson is set to release his highly anticipated new album, Day Trip, on September 26th, 2025.

The project showcases Culbertson’s genre-bending artistry and features an all-star lineup of collaborators, blending contemporary jazz, funk, fusion, and deeply soulful grooves into a vibrant musical journey.

In support of the release Culbertson will be heading out on the “Day Trip Tour,” with the first leg kicking off October 17th making stops in 27 major cities across the country. The tour promises a high-energy, captivating live experience led by Culbertson with a 10-piece band.

“With Day Trip, I wanted to go back to how the records that shaped me were made - no computer sequencing, no shortcuts - just real instruments and live takes in the studio,” said Culbertson. “I brought in some of the best musicians in the world to make this album different from anything I had ever done before. Compositionally and sonically this album is a total adventure, which is how I came up with the title, Day Trip.”

1. Morning Light (feat. Eric Marienthal)
2. On The Road (feat. Marcus Miller & Sheila E.)
3. Let’s Drive
4. With You (feat. Isaiah Sharkey)
5. U-Turn (feat. Branford Marsalis)
6. By Your Side
7. In The Vines (feat. Kirk Whalum)
8. The Winding Path (feat. Mike Stern)
9. Sunset Kiss
10. A Hundred Miles (feat. Randy Brecker & Eric Marienthal)
11. Home Again

On an album where fans get a delightful taste of the energy and innovation that defines the new record from the very off, Brian opens his brilliantly impassioned new album on sparkling Morning Light (feat. Eric Marienthal) and the grooved On The Road (feat. Marcus Miller & Sheila E.) and then we get the smooth Let’s Drive, the low slung balladry of With You (feat. Isaiah Sharkey) and then the funky U-Turn (feat. Branford Marsalis) is brought forth.

Along next is the quietly driven By Your Side and the gently embracing wafts of melodicism within In The Vines (feat. Kirk Whalum), which are in turn backed by the intriguingly sculpted The Winding Path (feat. Mike Stern), the decadent Sunset Kiss, the set rounding out on the upbeat and joyful A Hundred Miles (feat. Randy Brecker & Eric Marienthal), closing on the subtle piano masterclass shown within the heartfelt ballad Home Again.

Day Trip Tour Dates:
October 17 - Rockford, IL - Hard Rock Casino
October 18 - Detroit, MI - Sound Board Theater
October 19 - Landsdowne, PA - Landsdowne Theater
October 21 - Portsmouth, NH - The Music Hall
October 22 - Red Bank, NJ - Count Basie Center
October 23 - Washington, DC - Warner Theater
October 34 - Charlotte, NC - Carolina Theater
October 25 - Durham, NC - Carolina Theater of Durham
October 26 - Charleston, SC - Charleston Music Hall
October 28 - Birmingham, AL - Lyric Theater
October 29 - Atlanta, GA - Symphony Hall
October 30 - Clearwater, FL - Ruth Eckherd Hall
October 31 - Jacksonville, FL - Florida Theater
November 1 - Daytona Beach, FL - Florida Smooth Jazz Weekend
November 2 - Fort Lauderdale, FL - The Parker Playhouse
November 4 - Nashville, TN - CMA Theater
November 5 - Shipshewana, IN - Blue Gate Performing Arts Center
November 6 - Milwaukee, WI - Pabst Theater
November 7 - Hammond, IN - Horseshoe Casino
November 8 - Cincinnati, OH - Taft Theater
November 9 - Akron, OH - Akron Civic Theater
November 11 - Chesterfield, MO - The Factory
November 12 - Kansas City, MO - Uptown Theater
November 13 - Memphis, TN - Minglewood Hall
November 14 - Dallas, TX - Majestic Theater
November 15 - Houston, TX - Bayou Theater
November 16 - San Antonio, TX - Majestic Theater

Official Purchase Link

www.brianculbertson.com

For those unaware, John Gorka is one of the most well-loved singer/songwriters in the folk community. With a career spanning 40 years and a discography of 17 solo releases, he embodies the best of folk music with his eclectic blend of folk, blues, and bluegrass influences, with insightful lyrics and engaging delivery.

On his new album, Unentitled, Gorka reasserts his voice as a guiding light in the folk scene. The album opens with “Favorite Place,” an upbeat reflection on the songwriter’s life and the creative process. “A Light Exists in the Spring” is a setting of an Emily Dickinson poem brought to life by Gorka’s sparkling acoustic guitar and warm, rich baritone vocal, which segues into “Particle & Wave (Goodness in the World),” an anthem to the power of kindness and the better angels of human nature.

Gorka delivers a stunning rendition of the well-loved Stan Rogers song “Harris and The Mare” (the sole cover on the album) before closing with a reprise of “Particle & Wave.” Joining Gorka on the project are Lucy Kaplansky and Eliza Gilkyson, fellow folk icons that share the Red House legacy with him.

1. Favorite Place
2. A Light Exists In Spiring
3. Particle & Wave (Goodness In The World)
4. First Snow On The Mountain
5. No Time To Cry
6. Welcome Home
7. Hold On
8. Give Us Back Our Water
9. Hope Doesn’t Fall
10. Richard III
11. Harris And The Mare
12. Particle & Wave (Solo Acoustic)

With an eclectic blend of folk music, blues, and bluegrass influences, Gorka opens his smooth sailing of an album on the joyful summer breeze of Favorite Place and the effortlessly soulful beauty of A Light Exists In Spiring and then we get his resounding cover of Particle & Wave (Goodness In The World), a dutifully harmonic First Snow On The Mountain, the windows down, elbow leaning No Time To Cry, the quietly resounding Welcome Home up next.

Then we are brought forth the subtly effective ballad Hold On and the melodic Give Us Back Our Water and they are in turn backed seamlessly by the gentle, veritably shimmering Hope Doesn’t Fall, the jaunty Richard III, the set rounding out on the mesmerizing Harris And The Mare, closing on a solo acoustic version of article & Wave.

John Gorka’s career was launched in the mid-80’s when he won the prestigious New Folk award at the Kerrville Folk Festival in 1984. Several years later, he signed to Red House Records for the release of his debut album, I Know. He migrated to Windham Hill/High Street for his subsequent three releases, earning extensive critical acclaim from a variety of publications including Rolling Stone which dubbed him the preeminent male singer‑songwriter of the New Folk Movement.

Following his return to Red House in 1998, he has released a string of albums that all achieved folk chart-topping success. unentitled marks Gorka’s 10th album for the Red House Records imprint.

Official Purchase Link

Official Website

John Gorka @ Facebook

For those unaware, with his new album SEHNSUCH (out September 26th, 2025 via Rondeau Production), Swiss baritone Äneas Humm and pianist Renate Rohlfing devote themselves to songs by Arnold Schönberg, Alexander Zemlinsky, Erich Zeisl and Henriëtte Bosmans.

The works, composed in the 1930s and 40s, reflect experiences of exile, persecution and loss, while also addressing the longing for home, security and life.

The album thus focuses on one female composer and three male composers of Jewish origin whose artistic biographies were shaped and threatened by National Socialism, while also reminding us of this injustice and the deep wounds caused by the disappearance of art and its creators.

1. Dieselbe [1:16]
2. Das trunkene Lied [3:25]
3. Ein ganzes Leben [3:29]
4. Letzter Tanz [5:05]
5. Die Nacht [3:15]
6. Schrei [1:44]
7. Der Weise [1:12]
8. Dank [5:56]
9. Abschied [10:43]
10. Geflüster der Nacht [1:45]
11. Vor der Stadt [1:22]
12. Frühlingstag [1:44]
13. Der Traum [1:40]
14. Empfängnis [3:33]
15. Da waren zwei Kinder [1:21]
16. Entbietung [2:08]
17. Complainte de Petit Cheval blanc [2:26]
18. Le Chanson fatale [4:10]
19. Le Regard Eternel [4:22]
20. Le Diable dans la Nuit [1:18]

Award-winning baritone Äneas Humm and his pianist Renate Rohlfing present a most wondrous new recording here, and open it with the emboldened Dieselbe, the decadent Das trunkene Lied and the elegant Ein ganzes Leben and then we get the flavorful Letzter Tanz, the cultured Die Nacht, the strident Schrei, the playfully realized Der Weise, the low slung Dank, and then we get both the stoic Abschied and the delicate Geflüster der Nacht.

Then we are brought forth the flirtatious Vor der Stadt, the reticent Frühlingstag and the gently frenetic, yet reined Der Traum, and they are in turn backed by the engaging Empfängnis, the vitality of Da waren zwei Kinder, the formidable Entbietung and the melodious Complainte de Petit Cheval blanc, the set rounding out on the evocative Le Chanson fatale, the quietly honed Le Regard Eternel, coming to a close on the sparkling Le Diable dans la Nuit.

‘With SEHNSUCHT, I am continuing my journey to make works and voices that have been unjustly forgotten audible again – a legacy that our cultural memory urgently needs.’ – Äneas Humm

Official Das trunkene Lied Music Video

www.aeneashumm.com

For those unaware, Francesco Tristano’s big leap took place in 2011, when he was signed by Deutsche Grammophon, with whom he recorded three programs inspired by his ascent as a concert pianist of international acclaim.

After a special release in Japan, Bach: The 7 Toccatas by Francesco Tristano will be released worldwide on October 31 on naïve. As a first glimpse of this highly anticipated album, Bach: Toccata in C minor, BWV 911 is available now on all platforms.

Following Bach: The 6 Partitas and Bach: The 6 English Suites, this third release continues Tristano’s deep exploration of J.S. Bach’s keyboard works. With his distinctive style, he offers a fresh and immersive interpretation, highlighting the vitality and expressive depth of the toccatas, composed in the early 18th century.

Bach, J S: Toccata in F sharp minor, BWV910
I. no tempo
II. Fuga - Presto e staccato - no tempo - Fuga

Bach, J S: Toccata in C minor, BWV911
I. no tempo - Adagio - Fuga. Allegro - Adagio
II. Fuga. Allegro - Adagio - Presto

Bach, J S: Toccata in D major, BWV912
I. no tempo - Allegro - Adagio
II. no tempo - Presto
III. Fuga

Bach, J S: Toccata in D minor, BWV913
I. no tempo - Presto - Thema. Fuga
II. Adagio - Presto
III. Allegro

Bach, J S: Toccata in E minor, BWV914
I. no tempo - Un poco Allegro - Adagio
II. Fuga a 3. Allegro

Bach, J S: Toccata in G minor, BWV915
I. no tempo - Adagio - Allegro - Adagio
II. Fuga

Bach, J S: Toccata in G major, BWV916
I. no tempo
II. Adagio - Allegro e presto

The rising and skilled classical pianist opens his new recording on Bach, J S: Toccata in F sharp minor, BWV910, which begins with the sprightly no tempo and culminates with the fervently spirited Fuga - Presto e staccato - no tempo - Fuga.

Along next is Bach, J S: Toccata in C minor, BWV911, which begins on the forthright no tempo - Adagio - Fuga. Allegro - Adagio and ends with the pointed, at times, yet resoundingly rounded at others Fuga. Allegro - Adagio - Presto.

The we get Bach, J S: Toccata in D major, BWV912, which opens on the flourishing no tempo - Allegro - Adagio, then we get the decadent, yet gripping no tempo - Presto, culminating with the playful Fuga.

Then we are brought forth Bach, J S: Toccata in D minor, BWV913, which opens on the confident no tempo - Presto - Thema. Fuga, the regal fare of of Adagio - Presto, culminating on the flirtatiously alert Allegro.

Along next is Bach, J S: Toccata in E minor, BWV914, which begins with the emboldened no tempo - Un poco Allegro - Adagio and concludes with the assured Fuga a 3. Allegro.

Rounding proceedings out is Bach, J S: Toccata in G minor, BWV915, which opens on a magnificent work of musical dexterity shown within no tempo - Adagio - Allegro - Adagio, ending on the rhythmically perky Fuga; with everything closing on Bach, J S: Toccata in G major, BWV916, which opens on the melodious no tempo, finally the entire set coming to a close on the stately Adagio - Allegro e presto.

Official Purchase Link

www.francescotristano.com

For those unaware, years before releasing OH/KY — a debut album built on the borderline between Rust Belt roots music and raw, unflinching country — Jeremy Pinnell grew up within reach of the Ohio River, listening to a musical soundtrack as broad as midwestern skies.

Merle Haggard. Concrete Blonde. Tom Petty. AC/DC. Those artists were on repeat, mixing with the gospel hymns he sang in church, influencing the ever-evolving songwriting that would eventually take him far beyond Kentucky.

Four albums later, Pinnell digs deep into those hook-heavy beginnings with Decades (releasing via Sofaburn Records on October 31st, 2025). It’s the most melodic album of his acclaimed career, produced by two-time GRAMMY winner Shooter Jennings and influenced by the radio-friendly choruses he heard as a teenager.

I love hooks, Pinnell says unapologetically. I love big, melodic songs that talk about serious things. That’s what I wanted to do with Decades: share intimate observations about myself and others in a hooky, positive way. I wanted it to be personal, but I also wanted it to be fun.

1. Barabbas
2. Too Much Sugar
3. Save You
4. Standing Still
5. Stuck In The Rain
6. Set Me Free
7. Dallas
8. Come Home To Me
9. We’ve Been Wrong
10. Pink Champagne

With Decades showcasing a shift in Jeremy’s musical direction, pushing beyond traditional country to explore new sounds and genres, he opens the new recording on the gently crawled Barabbas and the upbeat and rhythmically generous Too Much Sugar and they are backed by the melodious Save You, the wistful Standing Still, and the free flowing, easy going Stuck In The Rain.

Then we are brought forth an impassioned yearn within Set Me Free which is in turn backed by the countrified twang of Dallas, the laid low Come Home To Me, the dutifully impassioned new set rounding out on the rousing We’ve Been Wrong, coming to a close on another countrified ambiance, this time within the stirring Pink Champagne.

Jeremy Pinnell 2025 Tour Dates:
September 26 – Indianapolis, IN @ Duke’s Indy
October 23 – Greenville, SC @ Doc’s Tavern **
October 24 – Chattanooga, TN @ The Signal **
October 25 – Birmingham, AL @ Iron City **
November 5 – Flagstaff, AZ @ The Orpheum Theater **
November 6 – Tucson, AZ @ The Maverick **
November 7 – Ramona, CA @ Ramona Mainstage **
November 8 – Petaluma, CA @ Mystic Theater **
November 10 – Seattle, WA @ Tractor Tavern **
November 12 – Roseville, CA @ Goldfield Trading Post **
November 13 – Morro Bay, CA @ The Siren **
November 14 – Bakersfield, CA @ Barrelhouse Brewing Company **
November 15 – Mesa, AZ @ Roosters Country **

** Supporting Jason Boland & The Stragglers

Official Too Much Sugar Music Video

www.jeremypinnell.com

For those unaware, American Music is the debut 13-track album from the American roots rock band The Blasters re-released with its original front and back cover, album labels and new liner notes from Chris Morris.

The LP was released on independent label Rollin’ Rock records in 1980. The set is a glimpse into the Blaster’s beginnings with many covers of songs the band made their own from Bill Haley, Howlin’ Wolf and other American music legends.

It features the original versions of the band’s two most popular classic tracks, Marie Marie and the album title track. The groundbreaking album had been re-released by Hightone Records with a new cover and package in 1997 with both configurations unavailable for many years now.

The album now makes its re-release on LP and CD in its original package from 1979 and includes new liner notes written by Chris Morris with band member interviews. It also features rare photos and memorabilia only available for this 2025 re-release.

1. American Music
2. Real Rock Drive
3. Barefoot Rock
4. I Don’t Want To
5. Marie Marie
6. I Wish You Would
7. She Ain’t Got The Beat
8. Flat Top Joint
9. Crazy Baby
10. Never No More Blues
11. Buzz Buzz Buzz
12. She’s Gone Away
13. Barn Burning

One of the bedrock acts that formed the template for the “Americana” music movement, they open this recording on the rhythmically pleasing American Music and the melodiously catchy Real Rock Drive and then we get the harmonica-driven beauty Barefoot Rock, the guitar-driven I Don’t Want To, and a deliciously catchy dancefloor smash in Marie Marie and the rock-pop bounce of I Wish You Would.

Then we are brought forth the gently frenetic beauty She Ain’t Got The Beat, the rockabilly brilliance of Flat Top Joint and some fast-paced guitar work that drives Crazy Baby, and they are in turn backed seamlessly by the smooth Never No More Blues, the harmonica-driven smash Buzz Buzz Buzz, rounding out on the train track-imbibed She’s Gone Away, coming to a close on the propellent rocker Barn Burning.

Musicians:
Phil Alvin-Vocal Harmonica Guitar
David Alvin-Lead Guitar
John Bazz-Bass
Bill Bateman-Drums

Official Purchase Link

www.theblasters.com

For those unaware, the legendary Americana band The Blasters’s 1983 album Non Fiction is now re-released with brand new liner notes and band interviews written by Chris Morris with rare photos and memorabilia images.

The release recreates the band’s third studio album complete with a replica of the inner sleeve with songwriter Dave Alvin’s lyrics. The 11-track set features the four core band members - Phil Alvin, Dave Alvin, John Bazz and Bill Bateman accompanied by Gene Taylor, Lee Allen and Steve Berlin.

It includes band classic cuts, such as Long White Cadillac (a hit for Dwight Yoakum in 1989), Jubilee Train, Red Rose along with deep track covers of Barefoot Rock and Tag Along, sung by piano player Gene Taylor.

The album was critically acclaimed with positive reviews from The New York Times, Washington Post, Los Angeles Times, Boston Globe, Philadelphia Inquirer, Trouser Press, The Village Voice, Goldmine, and many others. The San Diego Union named it the eighth best album of the 1980’s.

The album marked a shift in their sound as the band incorporated more diverse influences, blending rock, rockabilly, blues, and country elements. While still maintaining the energetic roots rock style they were known for, Non Fiction also explored a more polished and mature production compared to their earlier albums.

The album stands out for its mix of upbeat tracks with thoughtful lyrics and a more reflective tone than their earlier, more raw recordings. The album is praised for its strong songwriting, and although it didn’t achieve major commercial success, it remains a beloved album among fans.

1. Red Rose
2. Barefoot Rock
3. Bus Station
4. One More Dance
5. It Must Be Love
6. Jubilee Train
7. Long White Cadillac
8. Fool’s Paradise
9. Boomtown
10. Leaving
11. Tag Along

One of the bedrock acts that formed the template for the “Americana” music movement, they open this recording on the short-fused Red Rose and the hand jive of Barefoot Rock and then we get the rhythmic rocker Bus Station, the infectiously-grooved One More Dance, and the catchy It Must Be Love.

Then we are brought forth the finger and foot tapper Jubilee Train, which is in turn backed by the rockabilly vibe of Long White Cadillac, the low slung, horn-hued rock of Fool’s Paradise and the frenetically-charged Boomtown, and they are in turn backed seamlessly by the languishing ballad Leaving, coming to a close on the jubilant Tag Along.

Musicians:
Phil Alvin-Vocal Harmonica Guitar
David Alvin-Lead Guitar
John Bazz-Bass
Bill Bateman-Drums

Official Purchase Link

www.theblasters.com

For those unaware, two Doobies plus one Creedence equals a Jackdawg. Drawing upon decades of experience in the rock ’n’ roll world, three friends got together to make a straightforward rock album.

Multi-instrumentalist, singer/songwriter John McFee joined The Doobies in 1979. By that point, his credits included sessions with Nick Lowe, Elvis Costello, The Grateful Dead, Rick James, The Steve Miller Band. Stu Cook was best known for his bass playing in Creedence Clearwater Revival, with whom he earned a string of 14 Top Ten singles and five Top Ten albums. CCR broke up in 1972, with Cook venturing into music production with Roky Erickson’s 1980 release The Evil One.

Drummer, singer and songwriter Keith Knudsen joined The Doobie Bros in 1974; he would be featured on a six-album run of Top Ten albums by that group. An all-around musician, Knudsen also played and recorded with Lee Michaels, Carly Simon, Paul Williams, Emmylou Harris. Keith passed away in 2005.

By the early 80’s, The Doobies were on hiatus. McFee and Knudsen would continue together, in 1983 forming the new country rock group Southern Pacific. Stu Cook joined them in 1986. During its nine-year run, Southern Pacific landed three of its four albums in the Top 40 on Billboard’s Country chart. The new songs they were writing had none of the country flavor of their earlier collaboration and the new project wasn’t designed to cater to any style: Let’s not have guidelines, barriers or rules about this, they decided.

Reflecting the combined and shared musical sensibilities of its creators, Jackdawg ended up being a pop-rock album. Complementing Jackdawg’s original material, a pair of inspired covers round out the album. The band turns in a fine and fiery reading of Roky Erickson’s Cold Night for Alligators, a song first heard on The Evil One and they decided to cover Van Morrison’s Wild Night but took it in a very different direction.

1. Bayou Rebel
2. When The Sun Don’t Shine
3. The Men Who Would Be King
4. Hunger
5. Ghost Dance
6. Take It Off
7. Kisses In The Rain
8. I Couldn’t Help Myself
9. Quicksand
10. Lookin’ For Trouble
11. Relentless
12. Young Ones
13. The Girl From Oz
14. Cold Night For Alligators
15. Wild Night

One of the bedrock acts that formed the template for the “Americana” music movement, they open this recording on the throaty blues of Bayou Rebel and the rootsy blues rocker When The Sun Don’t Shine and then we get the grounded out AOR of The Men Who Would Be King, the shimmering 80’s sounding Hunger, the propellent Ghost Dance, before both the rhythmic rocker Take It Off and the mid-tempo beauty Kisses In The Rain are brought forth.

Then we are gifted the foot tapper I Couldn’t Help Myself and the deeper guitar-fed Quicksand and they are in turn backed seamlessly by the arena rock of Lookin’ For Trouble, the gentle AOR of Relentless and the smooth melodic rock of Young Ones, the set rounding out on guitar frenzy that drives The Girl From Oz, the reverberating Cold Night For Alligators, coming to a close on their resplendent rendition of Wild Night.

Musicians:
Keith Knudsen - drums, background vocals
John McFee - lead vocals, guitars, harmonica, keyboards, background vocals
Stu Cook - bass, background vocals

For those unaware, after a five year hiatus, Chuck D & Flavor Flav return to the scene with a new Public Enemy album, bringing their always insightful commentary over rugged and shapeshifting beats. From the opening diagnosis of Siick all the way to the insanity of school shootings during March Madness, the red, Black, and green machine is back to clean up the scene.

On Black Sky Over the Projects, Chuck D’s lyrical firepower and the inimitable Flavor Flav fearlessly call out the ills that plague society, politics, corporations and even ourselves while challenging us to do better.

The Rock and Roll Hall of Fame inductees and GRAMMY Lifetime Achievement Award winners also celebrate the power of music itself, with tracks like Here Come The Drums, the ebullient love letter to hip-hop, Get Down, and the single, March Madness.

1. SIICK (Produced by C-Doc & M-Rok for The Beat Raiders)
2. CONFUSION (HERE COME THE DRUMS) (Produced by Felony Muzik)
3. WHAT EYE SAID (Produced by C-Doc for DefBeat Posse Productions, ID!)
4. C’MON GET DOWN (Produced by Felony Muzik)
5. EVIL WAY (Produced by Carl Ryder & JP Hesser)
6. SEXEGENARIAN VAPE (Produced by C-Doc for DefBeat Posse Productions, ID!)
7. MESSY HENS (Produced by Sam Farrar, Additional Production by Carl Ryder)
8. FOOLS FOOL FOOLS (Produced by C-Doc for DefBeat Posse Productions, ID!)
9. …THE HITS JUST KEEP ON COMIN… (Produced by Sam Hollander & Grant Michaels)
10. AGEISM (Produced by C-Doc for DefBeat Posse Productions, ID!)
11. PUBLIC ENEMY COMIN THROOOOO (Produced by Felony Muzik)
12. MARCH MADNESS (Produced by Nigel Sanders, Additional Production by Sam Hollander)

With Public Enemy’s classic albums having been the soundtrack to hip-hop’s rise as social and political commentary, they open this brand new recording on the deeply informative SIICK and the RATM-esque CONFUSION (HERE COME THE DRUMS) and then we get the rhythmic R&B and Hop-Hop of WHAT EYE SAID, the harder edged C’MON GET DOWN, the guitar heavy EVIL WAY, before the glorious raps within SEXEGENARIAN VAPE are brought forth.

Then we are gifted the old school sounds of MESSY HENS and the guitar driven FOOLS FOOL FOOLS and they are in turn followed neatly by the melodic …THE HITS JUST KEEP ON COMIN…, the soulful AGEISM, the set rounding out on the forthright PUBLIC ENEMY COMIN THROOOOO, coming to a close on the hard-edged MARCH MADNESS.

“This album is a give-back to all of our fans with gratitude and appreciation,” says Chuck D, “we see and appreciate you.”

“We’re bringing our beats to the world with this album,” adds Flavor Flav.

Official Purchase Link

For those unaware, Earth Quake was among the musical figureheads of the successful US label Beserkley Records (1973-1986) from Berkeley, California, alongside Greg Kihn, The Tyla Gang, Rubinoos, and Jonathan Richman. Former A&M Records in-house producer and A&R scout Matthews King Kaufmann founded the label with the intention of having fun and producing great records.

Starting in 1975, the label’s bands conquered the charts worldwide with their power pop rock, receiving plenty of airplay - as did Earth Quake’s cover of the Easybeats hit Friday on My Mind.

Earth Quake, formed in San Francisco in 1966, was heavily influenced by 1950s and 1960s rock and blues bands such as the Yardbirds, Muddy Waters, and the Kinks. Kaufmann signed the band to A&M Records in 1970 and produced their first two albums, Earth Quake (1971) and Why Don’t You Try Me? (1972), with them and Allan Mason.

From 1975 to 1980, Earth Quake released four albums on Beserkley and worked with other artists on the label. For example, they served as the backing band for Jonathan Richman, and Greg Kihn sang backing vocals for Earth Quake in the studio.

In the early 1980s, the five musicians went their separate ways. Gary Phillips joined the Greg Kihn Band and worked with John Cipollina (Copperhead). Phillips died in 2007 at the age of 59. Four years later, singer and frontman John Doukas followed him.

Encouraged by the commercial success of Jonathan Richman’s Egyptian Reggae and the release of the label sampler Bezerk Times, Beserkley artists Tyla Gang, Greg Kihn, Rubinoos, and Earthquake embarked on a joint European tour in the spring of 1978. The bands’ concerts on March 14 and 15 at the Audimax in Hamburg were recorded by WDR for the program Rockpalast. Forty-seven years later, guitarist Robbie Dunbar reminisces, A great performance, a great show, by our unforgettable band, and encourages fans to Turn it up and enjoy!

CD: 1978
1. Lovin’ Cup
2. Hit The Floor
3. Stayin’ Out
4. Street Fever
5. Mr. Security
6. Saving My Love
7. Friday On My Mind
8. Trainride

After a quick introduction, and a notation to the audience that they were going to record the show that night, this mesmerizingly fantastic flashback to the late 70’s opens on the brilliant rock n’ roll of Lovin’ Cup and the rocker Hit The Floor (which has a suspiciously similar opening guitar line to Born To Be Wild), and then we get the fervently charged Stayin’ Out and the alt-punk-hued Street Fever.

Along next is the sweaty rock of Mr. Security which is in turn backed by the KISS-imbibed Saving My Love, the set rounding out on the screamfest that is their cover of The Easybeats’ Friday On My Mind, coming to a close on the drum-led rocker Trainride.

The DVD features all the same tracks and showcase a band not only having a great time live, but a collective musicianship that was at the top of its game back in 1978 at Rockpalast.

Musicians:
Steve Nelson
Robbie Dunbar
Stan Miller
Gary Phillips
John Doukas

Official Purchase Link

For those unaware, alongside Greg Kihn, the Tyla Gang, Earth Quake, and Jonathan Richman, The Rubinoos were among the musical figureheads of the successful US label Beserkley Records (1973-1986) from Berkeley, California. The label was founded by former A&M Records in-house producer Matthews King Kaufmann to have fun and produce some great records.

From 1975 onwards, the label’s bands conquered the charts worldwide with their US power pop rock and received plenty of airplay - as did I Think We’re Alone Now (1976) by The Rubinoos.

However, the band had already made their debut in 1975 on the album Beserkley Chartbusters, Volume 1. The title of this LP was purely a marketing gimmick. It was the first LP on the Beserkley label and consisted of songs that hadn’t even come close to the charts - some were even recorded especially for this LP - and served only to make the label known to the media.

When The Rubinoos appeared in front of the Rockpalast cameras at the Audimax in Hamburg on February 14, 1978, the four likeable musicians (Jon Rubin, Tommy Dunbar, Royse Ader, and Donn Spindt) were already the darlings of the American rock press.

Forty-seven years later, singer and guitarist Jon Rubin takes stock: This insight into the band’s beginnings under extreme circumstances captures the spirit and silliness that have defined us from the beginning and continue to define us today.

CD: 1978
1. Rockin’ In The Jungle
2. Tonight
3. Peek-A-Boo
4. Falling In Love
5. Hard To Get
6. Hey Royse
7. Wouldn’t It Be Nice
8. Red Light
9. Promise Me
10. Ronnie
11. Make It Easy
12. Please, Please Me
13. Walk Don’t Run
14. I Think We’re Alone Now
15. Rock ’n’ Roll Is Dead

After a quick introduction, and a notation to the audience that they were about to unleash, as their first number that night, an acapella version of Rockin’ In The Jungle, they do just that (and very acoustically atmospherically too, might I say) and back that up with the low slung textures of Tonight and then comes the guitar roustabout of Peek-A-Boo, the melodic Falling In Love, the mid-tempo pop sensibilities of Hard To Get and then come both the swinging Hey Royse and the delightful Wouldn’t It Be Nice.

Along next is the pop-tastic Red Light and the slower Promise Me and they are in turn backed seamlessly by the propulsive pop-rocker Ronnie, the harmoniously crafted Make It Easy, a substantially dutiful cover of the Beatles’ Please, Please Me (which will have you thinking it is the Merseysiders!), a dynamite guitar track in the form of The Ventures’ Walk Don’t Run, before the set rounds out on a deliciously sculpted, breathy version of the Tommy James and the Shondells hit I Think We’re Alone Now, closing on handclapper Rock ’n’ Roll Is Dead.

The DVD features all the same tracks and showcase a band already so very confident in their stage presence and musical mannerisms that it is not hard to believe that all these years later they are still together (for the most part, band member wise) but are actually touring here in 2025/26.

Musicians:
Jon Rubin
Tommy Dunbar
Royse Ader
Donn Spindt

Official Purchase Link

For that unaware, visionary vibraphonist, marimbist and composer Patricia Brennan looks to the stars and the universe for inspiration on her stunning new album entitled Of The Near And Far (out October 24th, 2025 via Pyroclastic Records).

Of The Near And Far uses the constellations as the basis for exhilarating compositions blending jazz, classical and alt-rock influences.

I’ve always been captivated by the night sky, endlessly wondering about what lies beyond, Patricia explains. Amidst the vast expanse of stars, there is a sense of balance and symmetry that fascinates me—an order within the chaos. The innate patterns of the constellations sparked my curiosity, prompting me to explore how these celestial forms might be translated musically.

In the summer of 2024, I developed a process that allowed me to collect pitch and numerical data from constellations. I overlaid the shapes of constellations onto a circle of fifths, intrigued by whether the symmetry of the constellations could translate into musical symmetry — whether harmonic or melodic.

The circle of fifths is already a highly symmetrical structure that organizes pitches in a sequence. By mapping the constellations’ shapes onto this circle, I discovered new relationships between pitches, chords, and even key signatures. These relationships emerged purely from the constellations’ symmetry, not from traditional music theory.

1. Antlia
2. Aquarius
3. Andromeda
4. Citlalli
5. Lyra
6. Aquila
7. When You Stare Into The Abyss

On an album where the sonic palette is inspired by my background in classical music and in new music, combined with the sonic possibilities of jazz rhythm section instruments, Patricia opens her expertly crafted new musical extravaganza on the divinely sculpted, gracefully fervent, sparkling and playful Antlia and then we get a more graceful, yet questioning stillness within Aquarius, and they are in turn backed seamlessly by the vibrantly alive Andromeda, the sterner, more crystalized fare of Citlalli and the curiously sculpted, spatially aware Lyra, the set rounding out on the free flowing Aquila, closing on a track whose sound is as perfectly matched to its title as anything that has ever gone before it in the history of music, When You Stare Into The Abyss.

As on my previous records, I aimed to challenge conventional expectations of each instrument’s role and expand their sonic palette, Patricia adds. For example, the strings might adopt a melodic role, which is more traditional, or they might take on a textural role, creating layers of sound. Ultimately, the sonic possibilities of the ensemble are shaped by the needs of each composition and my overall vision for this project.

As you listen to this music, I invite you to free your imagination and encourage you to look not only inward and upward, but also to seek the light of hope amidst the darkness of the abyss.

Musicians:
Modney - violin; Pala Garcia - violin; Kyle Armbrust - viola; Michael Nicolas - cello; Sylvie Courvoisier - piano; Miles Okazaki - guitar; Kim Cass - bass; John Hollenbeck - drums and percussion; Arktureye - electronics; Patricia Brennan - vibraphone with electronics, marimba; Eli Greenhoe - conductor

Official Purchase Link

www.patriciabrennanvibes.com

For those unaware, Linda Ronstadt secures her position as the Premier Female Vocalist of the 1970s with Prisoner in Disguise which includes covers of “Love Is a Rose” and “I Will Always Love You.”

Reissued at 45RPM for the first time for its 50th Anniversary and Elektra 75: Mobile Fidelity’s 180g 45RPM 2LP set of her 1975 record plays with superb purity, detail, tonality, and definition as a 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe.

If there was any doubt whether Linda Ronstadt would emerge as the premier female vocalist of the 1970s, the question became moot when she dropped Prisoner in Disguise in 1975. Picking up exactly where she left off on Heart Like a Wheel, the singer pairs with the same perfectionist-oriented producer and many of the same session pros on a follow-up in every way the equal of her 1974 breakthrough.

The platinum-certified set not only established Ronstadt as an all-time great. It confirmed her as the voice of the decade, a performer the press soon deemed “The First Lady of Rock.”

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton gatefold jacket, and reissued to celebrate Elektra 75, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set presents the Top 5 album with extra groove space via 45RPM speed for the first time. This special 50th anniversary version plays with reference-caliber definition, depth, and dimensionality. The definitive vinyl edition of Prisoner in Disguise, it lifts prior veils that impeded the gorgeous singing and spectacular craftsmanship gracing the 11 songs. The elevated degrees of clarity, presence, and separation exceed those of even Mobile Fidelity’s long-out-of-print 33RPM reissue. Vocals — often the most difficult instrument to faithfully portray — resonate with superb tonality, openness, and naturalism.

Here, there’s practically nothing between you and Ronstadt’s whippoorwill deliveries. Her wide-spanning range and varied subtleties — vibrato, hiccups, shivers, falsetto fades — come across with rich, transparent detail. They affirm why Prisoner in Disguise is one of the four consecutive albums she made that sold a million or more copies, making her the first female artist to achieve that feat.

Each aspect of the record reveals how and why Ronstadt crashed through the glass ceiling not only with commercial and critical success, but by attaining then-unprecedented recognition in the form of national stories in the likes of Rolling Stone and Newsweek.

Collaborating for the third time with producer Peter Asher, Ronstadt turns to her career-long strengths — interpretative covers, roots-based music, aching balladry — and seamlessly jibes with a Hall of Fame-worthy cast. James Taylor, Kenny Edwards, Herb Pedersen, JD Souther, David Grisman, and Russ Kunkel are some of the elite musicians along for the ride. David Campbell handles string arrangement and conducting duties.

Everyone works toward a common and sensible goal: Spotlighting, shading, and complementing Ronstadt’s singing. Playing with an all-for-one mindset so the meanings and emotions she pulls from every song get top billing — and with a selfless restraint that helps expose the kernels of truth and beautiful melodies in indelible tunes by the likes of Neil Young, Lowell George, Jimmy Cliff, and Taylor. Few, if any, pop-rock singers ever exhibited adaptive skills on a par with that of the Arizona native. Her contemporaries ensure she has the ideal settings in which to maneuver.

Side One:
1. Love Is a Rose 2. Hey Mister, That’s Me Up on the Jukebox 3. Roll Um Easy

Side Two:
4. Tracks of My Tears 5. Prisoner in Disguise

Side Three:
6. Heat Wave 7. Many Rivers to Cross 8. The Sweetest Gift

Side Four:
9. You Tell Me That I’m Falling Down 10. I Will Always Love You 11. Silver Blue

Linda Ronstadt was a star by 1975. Her Heart Like A Wheel album had topped The American pop charts and spawned two huge hit singles. Prisoner In Disguise, released in September of 1975, increased her popularity. It would earn her another Platinum Record Award and contained two more hit singles and a top five country release as well.

She had settled into a pop/country niche that tended to revolve around up-tempo pop tunes and country style ballads. This album would be one of her most versatile as pop, Motown, country, and even a Jimmy Cliff tune would fall under her interpretive spell. She and producer Peter Asher would have the knack of picking just the right songs for her style and voice.

Her first foray into the Motown catalogue would produce two hits. She gives a pure and emotional vocal on the old Smokey Robinson ballad, “The Tracks Of My Tears,” and she moves the Martha and The Vandellas classic “Heat Wave” into a pop masterpiece.

As with many of her releases it is the ballads that truly shine. Her banjo-picked rendition of the Neil Young penned “Love Is A Rose” was another in the long line of country hits for her. A little banjo and her powerful vocal all added up to a memorable performance. Personally, I have always preferred her gentle version of Dolly Parton’s “I Will Always Love You” over Whitney Houston’s histrionic rendition which topped The American pop charts for fourteen weeks during 1992.

The rest of the album is comprised of an eclectic group of material which she was so good at gathering and making interesting. “Roll Um Easy” featured wonderful and precise phasing and Lowell George provides some expert slide guitar on his own tune. Jimmy Cliff’s “Many Rivers To Cross” had a rare gospel feel for Ronstadt. Her forlorn version of James Taylor’s “Hey Mister, That’s Me Up There On The Jukebox” is both quirky and entertaining. The tender duet “The Sweetest Gift” is an early collaboration with Emmylou Harris and is an absolute gem of a cut.

Prisoner In Disguise would be the second of seven albums which would be some of the most commercial in pop history and cement her status as a music superstar. It remains mid-seventies pop/country at its best.

A songbird with a singular voice, Ronstadt time and again achieves “sweet harmony in unison” on Prisoner in Disguise, a record on which she’s at her peak.

Official Purchase Link

The Lisa Hilton Quintet returns with Extended Daydream (Ruby Slippers Productions 1031) set for release on November 28th, 2025. The award-winning composer and acclaimed pianist generously shares the spotlight with her stellar bandmates on eleven standout tracks.

In a natural and genre-fluid approach, Hilton seamlessly combines the renowned 1959 jazz classic So What by Miles Davis alongside the 2024 tune Wildflower by singer/songwriter Billie Eilish and her brother Finneas O’Connell, as well as nine of her own compositions.

If a daydream is a hopeful or insightful experience, the arc of Extended Daydream does extend hope and beauty along with a wallop of improvisational energy and style. Long a composer and pianist to watch, Hilton triumphs with this new genre fluid collection of cool jazz.

1. So What / 6:27 [Miles Davis]
2. Momentary Mystery / 6:19
3. Extended Daydream / 6:29
4. Tropical Tuesday / 6:20
5. It’s Just for Now / 4:24
6. Here & There & Back & Forth / 4:12
7. Blues on the Beach / 6:26
8. Seabirds / 4:54
9. Wildflower / 4:06 [Billie Eilish O’Connell & Finneas O’Connell]
10. Sunset Tale / 4:50
11. Spacious Skies / 5:06

This beautifully crafted and expertly impassioned new recording opens on the silky smooth tones of Miles Davis’ cultured So What and then brings us her originals, such as the dreamy Momentary Mystery, the lavishly sculpted Extended Daydream, the upbeat and encouraging Tropical Tuesday and then we are brought forth the sweeping It’s Just for Now.

Along next is the spirited Here & There & Back & Forth and the emotively fervent Blues on the Beach and they are in turn backed seamlessly by the simply gorgeous Seabirds, and then Lisa shows her affective depth of emotion within her gorgeous rendition of Billie Eilish’s Wildflower, before the set rounds out on the sumptuous elegance of Sunset Tale, coming to a close on the gently graceful Spacious Skies.

Musicians:
Lisa Hilton | Piano
JD Allen – tenor saxophone
Igmar Thomas | trumpet
Luques Curtis | bass
Rudy Royston | drums

www.lisahiltonmusic.com

Trumpet virtuoso Anthony Stanco pays tribute to the Hard Bop Tradition in a Contemporary Spirit on his spirited new album, recorded live at Michigan’s The Alluvion.

In the Groove, out October 17th, 2025 via OA2 Records, features an All-Star Quintet with Randy Napoleon, Xavier Davis, John Webber and Joe Farnsworth.

The title of Stanco’s Time, the 2024 release by trumpet virtuoso Anthony Stanco, delivered two meanings. The strongly bebop-flavored album found Stanco slipping back into time and style that he wanted to explore and celebrate, but it was also a confident assertion that in time the Detroit-bred trumpeter had arrived at his full potential, seizing the moment to showcase his audacious technique and torch-bearing love for the jazz tradition.

Stanco’s dazzling follow-up, In the Groove, contains a similar play on words. Due out October 17th, 2025, on OA2 Records, the album is loaded with deep-pocket grooves, as Stanco travels forward in the music’s trajectory to exult in the buoyant spirit of hard bop. At the same time Stanco himself is in full stride on this outing, further developing the eloquent agility that made its predecessor such a standout, bolstered by the livewire energy that only a concert environment can provide.

1. T. Sea [6:11]
2. Say You’re Mine [6:06]
3. Riptide [5:45]
4. Pyramid Point [6:38]
5. In the Groove [6:27]
6. Hey Cute One [6:57]
7. Tales [4:45]
8. Sonny Boy [8:49]
9. Just a Moment [4:45]

Having been captured live at The Alluvion, a gorgeous and intimate jazz club in downtown Traverse City, Michigan, this new recording opens on the smooth as silk T. Sea (whose title is a play on Traverse City’s initials) and a low slung yearn that drifts through pianist Duke Pearson’s Say You’re Mine and then we get the upbeat and preppy Riptide and the late-night ambiance of the delicately hued Pyramid Point (named for a popular spot in the city for hiking).

Along next is the crowd-participated, rousing beaty of the titular In the Groove and the gorgeous Hey Cute One and they are in turn followed seamlessly by the all-embracing Tales, the set rounding out on the tantalizing Sonny Boy (where he pays tribute to his 9-month-old boy Sonny), closing on the formidably charged, drum-tastic Just a Moment (a contrafact of John Coltrane’s “Moment’s Notice.”)

“I grew up on the east side of Detroit – fifth generation Detroit Italian,” Stanco states proudly. “My entire family and roots are from there, and I grew up under the tutelage of Marcus Belgrave and Rodney Whitaker. But Traverse City has become a second home to me. I’ve managed to create a lot of great musical and personal relationships there.”

That home is headquartered at The Alluvion, where Stanco has a monthly residency. The club’s owner, Jeff Haas, also founded a non-profit organization called Building Bridges with Music that Stanco is deeply involved with, bringing music education into underserved Detroit-area schools. A pianist and composer, Haas also contributed the lively “Tales” to the album’s repertoire.

In the Groove was inspired, in style and in spirit, largely by the classic live (and “live”) albums released in the late 1950s and ‘60s. “I love those classic hard bop albums that feature a signature boogaloo groove,” Stanco says, “and I just don’t think you can create a boogaloo as convincingly in the studio is you can live.”

Musicians:
Anthony Stanco - trumpet
Randy Napoleon - guitar
Xavier Davis - piano
John Webber - bass
Joe Farnsworth - drums

Official Apple Music Purchase

www.anthonystanco.com

For those unaware, Tenor saxophonist Ivo Perelman and trombonist Ray Anderson distill their proven chemistry heard in the quartet album Molten Gold (FSR 03|2023), here on their latest album 12 Stages of Spiritual Alchemy.

What they bring forth are twelve concise, alchemy-titled improvisations, which feature Perelman’s elastic lines and altissimo edge intertwining with Anderson’s plunger color, slide glissandi, and buoyant phrasing to forge vividly conversational miniatures of texture, tension, and release.

1. Separation [3:10]
2. Calcination [3:59]
3. Putrefaction [0:57]
4. Dissolution [3:07]
5. Coagulation [4:51]
6. Conjunction [5:45]
7. Sublimation [8:05]
8. Exaltation [7:53]
9. Projection [9:42]
10. Multiplication [1:28]
11. Fermentation [2:55]
12. Cibation [3:29]

A rare, high-caliber duo of tenor sax and trombone, this new recording opens on the jauntily staggered Separation and the Gothically-imbibed Calcination and they are backed by the charged, albeit short Putrefaction, the engaging Dissolution, and then we are brought forth both the expressive Coagulation and the organically fluent Conjunction.

Along next is the joyfully melodious, laughing-hued Sublimation and the fulfilling rhythms that drive Exaltation and they are backed seamlessly by the subtle, more rounded notes of Projection, the controlled, yet inquisitively fluid Multiplication, the set rounding out on the playfully flirtatious Fermentation, coming to a close on the divaricate Cibation.

Musicians:
Ivo Perelman, tenor sax
Ray Anderson, trombone

Official Purchase Link

Ivo Perelman @ Facebook

For those unaware, Melodic Meltdown is back after a 20-year vacation. These four tracks on their brand new EP entitled Touching Eternity show the old Danish band in a brand-new line-up and with new energy. This time around the line-up includes English drummer and producer Joe Clancy from the legendary Vardis.

“Retirement sucks”, Ozzy said back in the 90´s, and he was right… so here we are – stronger than ever. The band is now: Joe Clancy (Vardis, ex- Adrian Smith Blues band), Michael Søbygge, Lasse W. Wehner (Fears Unfolding) and Jacob Froberg (Guppyfish).

The four tracks on this EP are two songs and two instrumental tracks, which once again tells the old story of the band. The music is a bit of both worlds.

The genre is rock/metal as our mums used to cook it. The virtue is melody and balance, a steady groove, pounding drums, wailing guitars and a powerful voice, which leaves the listeners in a state of euphoria.

1. Touching Eternity
2. The Lie
3. Warlock (instrumental)
4. City (instrumental)

Incorporating a distinctly unique musical style that utilizes sophisticated classical, modern rock, blues, prog and even heavy metal, Meldodic Meltdown open this new EP on an ageless prog-rocker title track Touching Eternity and then brings forth the driven AOR of The Lie, with the EP rounding out on two instrumentals: in the form of the free-flowing Warlock and the sidewinding, guitar driven beast City.

Official Joe Clancy Website

Official Melodic Meltdown Website

For those not in the know, Indie rock artist and Bay Area favorite Michael Vincent, known worldwide for his eclectic compilations of bright new originals and well-worn favorites across his seven album history, comes blazing out the door with SKY BLUE, his eighth powerhouse full-length release available November 7th, 2025!

Not unlike his previous albums, SKY BLUE includes edgy indie rock, power pop, and songs influenced by garage and grunge rock, to a couple of songs from Vincent’s folk-rock era with that lilting charm that draws you in for a slow, smooth journey of the quieted soul.

1. C’mon, C’mon!
2. Fool, My Eye (Remix 2025)
3. Together (Remix 2025)
4. Rain Downtown
5. Shadow Talk
6. Nightlights
7. This Is Love
8. Of the Promises
9. The Longest Time (Remix 2025)
10. C’mon, C’mon! (Reprise)

Displaying a range of genres from power pop to alternative, blues, Americana/roots music, Vincent opens his new album on the rhythmically jubilant C’mon, C’mon! and the melodious Fool, My Eye (Remix 2025) and then we get the soothingly pleasant hipsway of Together (Remix 2025), the low slung AOR of Rain Downtown, before the comfortably pleasing Shadow Talk is brought forth.

Up next is the pop-tastic, 70’s-hued Nightlights which is itself backed seamlessly by the gently absorbing This Is Love, the beautifully languishing ballad Of the Promises, the set rounding out on the guitar led rocker The Longest Time (Remix 2025), coming to a close on a reprise of C’mon, C’mon!.

Official Purchase Link

For those not in the know, Indie rock artist and Bay Area favorite Michael Vincent, known worldwide for his eclectic compilations of bright new originals and well-worn favorites across his seven album history, comes blazing out the door with SKY BLUE, his eighth powerhouse full-length release available November 7th, 2025!

Not unlike his previous albums, SKY BLUE includes edgy indie rock, power pop, and songs influenced by garage and grunge rock, to a couple of songs from Vincent’s folk-rock era with that lilting charm that draws you in for a slow, smooth journey of the quieted soul.

1. Prelude [5:16]
2. RTMK [5:51]
3. Nova [2:27]
4. Weathered [12:40]
5. Summerhill [3:43]
6. Union [3:00]
7. The Dust Storm [4:37]
8. Blink I [3:47]
9. Blink II [6:22]
10. The Optimist [5:21]

Recorded on Nov 2nd, 2024 in Vancouver BC Canada and on Nov 4th, 2024 in Burnaby BC, the new recording opens on the atmospherically building Prelude and then we get the rhythmically strident fare of RTMK, the veritably ethereal Nova, the quietly affecting, twelve minute Weathered, before the shimmering Summerhill is brought forth.

Up next is the spatially reverberating Union and that is then itself followed by the more propulsive fare of The Dust Storm, the lightly countrified ambiance of Blink I, the effervescently effortless Blink II, the set culminating on the translucent The Optimist.

Musicians:
Dan Pitt - electric guitar, effects pedals, live looping
Noah Franche-Nolan - piano, keyboards, synthesizers, audio processing

Official Purchase Link

www.noahfranche-nolanmusic.com

For those unaware, Swinging In The Holidays, the first offering from new jazz imprint Songbook Ink, arrives October 23rd, 2025 with a uniquely curated trove of classic holiday songs featuring an array of next gen and established vocalists and soloists, as well as fresh, sparkling arrangements.

Produced by Jazz at the Ballroom (JATB) and Songbook Ink founder, Suzanne Waldowski, the album, which was recorded in NYC, New Jersey and Oslo, is available in three formats: a CD that has 16 songs, the vinyl edition that has 12 songs, and the streaming version that has 18 songs (the 16 on the CD plus two bonus tracks).

Touting an international array of next gen vocalists and rising stars including Anaïs Reno, Lucy Wijnands, Olivia Chindamo, Wyatt Michael, Angela Gray, Vanessa Perea, Rob Edwards, Champian Fulton and Benny Benack, accompanied by Konrad Paszkudzki Trio, Felix Peikli Quartet (with Norwegian Jazz Orchestra Strings) and various rhythm sections, Swinging In The Holidays puts a new face on holiday music. Renowned clarinetist and tenor saxophonist Ken Peplowski joins the line up and contributes insightful and often fascinating liner notes.

“That’s what’s special about this album,” Waldowski says. “Yes, there are so many holiday albums out there; it seems to be on many artists’ bucket list. During the holidays, people want to get in a festive mood and listen to classic seasonal songs they know and love, but hunger for something new and different, just not too different.”

1. Baby, It’s Cold Outside
2. Winter Wonderland
3. Button Up Your Overcoat
4. Snow
5. Santa Baby
6. Mistletoe and Holly
7. That Holiday Feeling
8. Santa Clause is Coming to Town
9. Happy Holidays
10. Jingle Bells
11. I’ve Got My Love to Keep Me Warm
12. Have Yourself a Merry Little Christmas
13. Silver Bells
14. The Christmas Song
15. We Wish You the Merriest
16. White Christmas

A vibrant trove of seasonal favorites, this rather delightful new recording opens on the smoothly sultry Baby, It’s Cold Outside, a dutifully rhythmic Winter Wonderland and Sinatra-esque Button Up Your Overcoat, the lavishly engaging Snow, a smoldering Santa Baby, before the finger-snapper Mistletoe and Holly, the harmonious That Holiday Feeling and a finger-snapping Santa Clause is Coming to Town are brought forth.

Along next is the low slung swing of Happy Holidays, the uplifting Jingle Bells and a delightfully preppy I’ve Got My Love to Keep Me Warm, and they are in turn backed seamlessly by a lush Have Yourself a Merry Little Christmas, the almost balladish Silver Bells, the smoothly low slung The Christmas Song, the lovely new Holiday set rounding out on the upbeat and joyful We Wish You the Merriest, coming to a close on a heavenly White Christmas.

“I think our album is going to go down as one of the new classic albums,” Waldowski continues, “because every song on it is a keeper and a beautiful one. That’s the beauty of a compilation. I am able to have certain musicians play the songs that bring out the best in their music—uptempo or a ballad or sentimental or real swinging. There are no fillers on this album. Every track earned its place as one of our top picks. And by matching the best musicians and vocalists for each song, allowing each to do what they do best, they in turn bring out the best of the music.”

Swinging in The Holidays [Official Promo Video]

www.jazzattheballroom.com

For those unaware, Jennie Arnau’s face lights up when talking about her new album, her first since 2009’s Chasing Giants. Her comeback record, A Rising Tide, fuses world-weary understanding with an overwhelming tenderness that pierces the heart.

She takes her time across 14 songs to tell her story - one of great resilience and determination. Her voice ricochets like a pebble on a pond as she processes frustration and impenetrable sadness over her mother’s death.

With A Rising Tide, she brings together some of her talented friends to share the spotlight. Across the record you will find many of the industry’s most sought-after players, such as: Pete Levin (The Highwomen, Mavis Staples) on keyboards, Jacob Jolliff (Yonder Mountain String Band, Bela Fleck) on mandolin, Alan Lerner (The Zen Tricksters) on drums, Mike Savino (Tall Tall Trees) on banjo, Skip ward (Steve Martin, Tony Trischka) on bass, Dap King Binky Griptite (Amy Winehouse, Sharon Jones) on guitars, and Greg McCullen (Chris and Trixie Whitley) on pedal steel and guitar.

1. Oceans Rise
2. Countryman
3. Sail Away
4. Mabel
5. Young & Alone
6. The King
7. Hold On
8. Simple Man
9. One if by Land
10. Back to Carolina
11. Heaven in Her Eyes
12. Better Luck Next Time
13. Every Raindrop
14. Sunshine

This healthy dose of Americana with an inviting twist opens on the rhythmically pleasurable Oceans Rise, the jubilant vibe of Countryman and the gently emotive Sail Away and then we get brought forth the soft ebb and flow of Mabel, the languishing ballad Young & Alone and both the liberating The King and the quietly driven Hold On.

Along next is the euphonic Simple Man, the impassioned One if by Land and the measured Back to Carolina, and they are in turn backed seamlessly by the sentimentally focused Heaven in Her Eyes, the stirring Better Luck Next Time, the set rounding out on the burning embers of Every Raindrop, coming to a close on the playfully noted, yet rousing Sunshine.

Jennie Arnau - Sail Away (Official Music Video)

Official Purchase Link

Official Website

Official Instagram Page

Official Facebook Page

For those not in the know, Maria Corsaro’s love of music and performing began early in her life. She received her first undergraduate degree in theater and after graduation joined an off-Broadway theater company.

In her early twenties, living in Greenwich Village during this fertile period for theater, music and the arts, Maria found herself gravitating to jazz clubs where she met and hung out with many great jazz musicians and steeped herself in that extraordinary art form.

Realizing, as many young artists do, that hanging in jazz clubs and working Off Broadway do not make one a living, Maria spent many years in a rewarding, but nonmusical career.

But jazz kept beckoning, and in recent years she returned to singing and her love of jazz and has been performing the music of legendary jazz composers and lyricists in various venues in NYC, Boston, Nashville, Pennsylvania and Connecticut, and has just recorded her first CD, “Love Makes The Changes” (due out November 21st, 2025).

1. If You Never Fall in Love with Me
2. In April
3. Secret Love / Never Said (Chan’s Song)
4. (You Don’t Know) How Glad I Am
5. No More Blues
6. You Taught My Heart to Sing
7. Love Makes the Changes
8. Portrait in Black and White
9. Stolen Moments
10. Walkin’ Shoes
11. I Have the Feeling I’ve Been Here Before
12. That Day

Combining her love of jazz with her experiences of story-telling as a theater and cabaret artist, this new recording opens on the buoyant If You Never Fall in Love with Me and the sultry smooth In April, and then we get brought forth the glistening Secret Love / Never Said (Chan’s Song), the effortlessly serene (You Don’t Know) How Glad I Am, the immersive No More Blues and then comes the embracing You Taught My Heart to Sing.

Along next is the emotive Love Makes the Changes and the quieted hushes within Portrait in Black and White and they are in turn followed seamlessly by a dutiful warmth within Stolen Moments, the strident Walkin’ Shoes, the set rounding out on the demure elegance of I Have the Feeling I’ve Been Here Before, coming to a close on the sheerness of That Day.

Official Website

For those not in the know, Chris Rottmayer is a jazz pianist, composer, and jazz vibraphonist living in Madison, Wisconsin.

Chris has been a freelance jazz pianist since 1990, was a pianist for Walt Disney World from 1999 to 2020, and has released six albums as a leader; which began within Reactive Synthesis (2013) and culminates with the just-released Playing Favorites.

Playing favorites is a spontaneous collaboration between Chris and Kelsey Wallner, born from a 2025 festival booking in Madison, WI. Kelsey and Chris have worked together previously in Madison, playing gigs and making music.

Kelsey now lives and works in the Denver area, after completing a Master’s Degree in Jazz Voice at the university of Northern Colorado.

1. Everything Happens To Me [4:41]
2. One Note Samba [4:06]
3. Voyage [7:34]
4. Velho Piano [4:56]
5. On The Street Where You Live [6:42]
6. Firm Roots [5:19]
7. Sail Away [9:31]
8. I’m Too Sweet [5:28]
9. Love Ain’t Free [5:26]
10. Love Dance [10:13]
11. Never Will I Marry [5:53]

The jazz pianist, composer, and jazz vibraphonist opens his new recording on the cheerful Everything Happens To Me and then we get the Latin hipsway of One Note Samba, the lavish Voyage and both the beautifully dulcet Velho Piano and the gently strident fare of On The Street Where You Live.

Along next is the strongly rhythmic Firm Roots which is in turn backed by the languishing Sail Away, the impassioned I’m Too Sweet, the sheer elegance of Love Ain’t Free, the set rounding out on the grooved finger-snapper, 10 minute opus Love Dance, coming to close on the effectively atmospheric Never Will I Marry.

Official Purchase Page

Official Website

For those not in the know, led by guitarist Jose Guzman, The Collective’s repertoire reflect Guzman’s musical heritage with rhythms from Puerto Rico and Cuba, mixed with the sophistication of modern jazz.

Their third album, Fiesta at Caroga, has been making waves in the jazz world. It’s been featured on jazz radio stations across the country, received glowing reviews from music critics, and charted on JazzWeek’s Top 100 Jazz Albums of 2024.

Their brand new album entitled Cortadito (due for release November 23rd, 2025) is a perfect blend of talent and creativity. Recorded at Rax Trax Studios, ACIC’s fourth release packs a punch with seven original tunes and arrangements. Despite its brevity, the album overflows with rich flavor and showcases the musicians’ exceptional talent.

1. Orchard Downs [5:01]
2. Holande Pa Uste [5:34]
3. A Sunday Kind of Day [5:56]
4. El Reloj [3:41]
5. Witches Dance [3:44]
6. Terminal [6:36]
7. El Volcan [7:55]

Partially supported by an Individual Arist Program Grant from the city of Chicago Department of Cultural Affairs and Special Events, the musical project opens on the delightfully spirited Orchard Downs and then brings us the robust hipsway of Holande Pa Uste and the emotive A Sunday Kind of Day.

Along next is the languishing beauty of El Reloj which is backed seamlessly by the all-embracing sounds of Witches Dance, the set rounding out on the veritably cinematic Terminal, closing on the upbeat and jofuf El Volcan.

Official Website

For those not in the know, throughout her new album Mnemonics, Amy Jay explores what makes the vulnerable acceptable, as well as the Joycean concept of what makes the universal specific: How do you love yourself when you don’t feel likable? How do you face pieces of your hidden self courageously? How do you hold space for negative thought patterns or feelings of embarrassment, insecurity, loneliness, or anxiety?

While such themes are often still stigmatized, through song, they become softer and more palatable. Jay assembled a crew of stellar local musicians with national track records to help take her sketches of folk songs into fully formed indie rock panoramas.

With long-time producer/engineer Jon Seale (Mason Jar Music) at the helm and guitarist Sam Skinner (Pinegrove, Fenne Lily), keyboardist Andrew Freedman (Michael Mayo, Ryan Beatty), Jay also enlisted bassists Jeremy McDonald and Margaux (Katy Kirby) and drummers Jason Burger (Big Thief) and Jordan Rose (Maggie Rogers) to round out her sound.

Mnemonics takes such hefty internal work and translates everything into ear-pricking songs that alternatingly float, stun, and comfort. And with Jay’s sly observations and embrace of nervous laughter in awkward situations, she infuses a sense of levity in the album.

The architecture of her songwriting, varied in length, tone, and dynamic, stands out, but it’s Jay’s voice that’s the connecting tissue. In songs like Margins and Excuse Me, her vibrato carries emotional insecurity and staunch vocal control simultaneously.

1. How the Mind Can Be a Trap
2. Margins
3. The Critic 4. Back to What’s Natural
5. Can’t Go Back
6. Excuse Me
7. The Little Things
8. Floral Comfort
9. Move on
10. Compassion

On an album where working on it was both the most empowering and most vulnerable recording experience to date for Amy, her new collection opens on the delightfully melodic How the Mind Can Be a Trap and then brings us the ariose Margins and then we get the sweetly tinged, yet gripping The Critic and the emboldened Back to What’s Natural.

Along next is a languishing yearn that ebbs through Can’t Go Back which is in turn backed seamlessly by the jangly early 90’s indie guitar feel to Excuse Me, the organically-hued and all-embracing yearn of The Little Things and the veritably translucent hum of Floral Comfort, the set rounding out on the stoically-charged duo of Move On and the passively cultured Compassion.

Official Website

Official Facebook Page

For those not in the know, originally from the Philadelphia area, the career of saxophonist Carl Schultz has seen him as a soloist, composer, woodwind specialist, educator, and historian.

Schultz began this journey studying with modern saxophonists such as Ben Schachter and composer Norman David. Their unique approaches to improvisational music blended with the sounds of the Philadelphia jazz scene where Schultz was spending his time listening to great musicians of the music.

His brand new album entitled The Road to Trantor (due out November 21st, 2025 via Origin Records) is the soundtrack to a science fiction movie that only exists in his head. When he began composing the music for this album he noticed that, in their earliest phase, the pieces sounded cinematic.

Further more, they seemed to fit certain roles like music for the closing credits of a film or love theme. As each piece progressed, he asked himself what scenes still needed music. What was the plot these pieces fit into? He had been re-reading various Hugo Award winners and turned to his own copy of Isaac Asimov’s Foundation.

And whilst he did not want to create a soundtrack to that novel, he pulled in ideas from throughout Asimov’s Foundation Universe and applied them to plot devices that would exist in a more standard science fiction or science fantasy narrative.

1. Journey [7:10]
2. Psychohistory [10:16]
3. Caves of Steel [6:24]
4. Ecumenopolis [6:57]
5. Gladia [10:33]
6. Unsettled Worlds [4:18]
7. Crystalline Desolation [8:31]
8. The Spirit of Adventure [5:22]

On an album where the tracks reveal a series of highly creative explorations one after the other, this expansive album of melodically modern jazz opens on the emotive Journey and then we get the pensively sculpted Psychohistory, the impassioned Caves of Steel and the luxuriously crafted Ecumenopolis.

Along next is the veritably ethereal Gladia which is itself backed seamlessly by the spiraling dips and rhythms of Unsettled Worlds, the new set rounding out on the stoically-honed, yet effortlessly driven Crystalline Desolation, coming to a close on the upbeat and enthusiastic The Spirit of Adventure.

Musicians:
Carl Schultz, saxophone, flute
Tim Wendel, guitarist
Adam Benjamin, piano, rhodes
Zack Teran, bassist
Alwyn Robinson, drums

Official Purchase Price

Official Website

Official Facebook Page

For those not in the know, in the ever-evolving landscape of progressive jazz rock, a new force has emerged that’s bound to turn heads and redefine musical boundaries.

Led by the visionary keyboardist, producer and composer Phil Turcio, The Outernet stands as a testament to the boundless creativity that can flourish when like-minded virtuosos come together.

With Phil Turcio at the helm, Pete Drummond on drums, Pete Mollica on bass, and the promising newcomer Emilio Kormanic on guitar, the ensemble has woven an intricate tapestry of sound that defies categorization.

The foundation of The Outernet is built upon the eclectic talents of its members, each contributing their unique musical prowess to craft a sonic experience like no other. Phil Turcio’s journey in music began in his mid-teens, a spark of creativity that has since evolved into a blazing fire of inspiration. His compositions possess an almost mystical origin, often coming to life within hours of entering his mind.

It’s a phenomenon that speaks volumes about the instantaneous connection between his thoughts and the intricate melodies he creates. The modern marvels of technology allow Phil to capture the essence of his creations with remarkable speed, leaving an indelible mark on the band’s music.

His 2021 album The Quiet explored instrumental synth fusions of jazz, EDM, and pop. As a mentor and producer, he has guided talents like Fatai and Isaiah Firebrace while collaborating with Gary Novak and Larnell Lewis. In 2024 he produced John Farnham’s classic Burn For You for Guy Sebastian and with his new band The Outernet, Turcio continues pushing jazz-rock forward, which is shown to complete perfection here on his brand new album The Light & The Fury.

1. The Fury [2:56]
2. The Crossing pt I [5:16]
3. The Crossing pt II [3:29]
4. Mortal [6:41]
5. Menacing Images [5:33]
6. We Remember [4:31]
7. Running From The Aliens pt I [4:32]
8. Running From The Aliens pt II [4:19]
9. Running From The Aliens pt III [7:06]
10. The Light [5:05]

On an album where Mollica, a seasoned bassist who’s shared a symbiotic bond with Phil for over two decades, and thus brings an unmatched depth to the ensemble’s sonic foundation, they open their new project on the propulsive prog rocker The Fury and then we get the free-flowing musical majesties within The Crossing pt I and the playfully perky notes of The Crossing pt II, the expansive AOR of Mortal and the full on, richly deep Menacing Images.

Along next is the beautifully sculpted We Remember which is itself backed seamlessly by the first of the trilogy: the skittish Running From The Aliens pt I, the excitable Running From The Aliens pt II and the more outlined, dedicated prog guitar runs of Running From The Aliens pt III, the set coming to a close on a languishing beauty found within The Light.

Musicians:
Phil Turcio, keyboardist
Pete Drummond, drums
Pete Mollica, bass
Emilio Kormanic, guitar

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For those not in the know, a multiple woodwind player and arranger, Scott Silbert joined the Navy Commodores big band in 1991 on baritone sax, then in 1998 became the chief arranger for the United States Navy Band for fifteen years until his retirement in 2017. Prior to joining the Navy, he performed at Disney World for nine years.

Silbert has been a featured soloist on many national and international concert tours, at the International Association of Jazz Educators Conference, the Saxophone Symposium, The Midwest Clinic, the Detroit -Montreux Jazz Festival, and at numerous local concert venues in the D.C area.

Additionally, he performs with the prestigious Smithsonian Jazz Masterworks Orchestra, and has composed/arranged more than 200 works for the ensemble.

Recently, he has stepped into the role of band leader with his own small group and big band, both ensembles being new favorites for the massive DCLX swing dance community. Scott’s first album as leader, Introducing the Scott Silbert Big Band: Jump Children, was well lauded by the press and fans alike, and I am sure his brand new album Dream Dancing: Celebrating Zoot Sims at 100 (releasing November 7th, 2025) will also be.

The Scott Silbert Quartet marks the centennial of one of jazz’s most beloved voices, tenor saxophonist Zoot Sims (1925-1985), with a heartfelt tribute recording. Released in 2025 to coincide with Sims’ 100th birthday on October 29th, the album captures the warmth, humor and effortless swing that made Sims a cornerstone of the jazz tradition.

2. Louisiana [5:16]
3. It’s That Ole Devil Called Love [5:51]
4. Deep in a Dream [6:34]
5. All Too Soon [5:39]
6. You Go to My Head [5:50]
7. Blues for Louise [3:40]
8. Someday Sweetheart [4:17]
9. Low Life [7:10]
10. Round My Old Deserted Farm [5:20]
11. Shadow Waltz [5:33]
12. Ballad for Very Tired and Very Sad Lotus Eaters [6:22]
13. Wee Dot [4:35]

Multiple woodwind player and arranger Silbert opens his new album on the opulent title track Dream Dancing and then we get the furtively shimmering Louisiana and the lushly sculpted It’s That Ole Devil Called Love, the playful elegance of Deep in a Dream, the late night smoothness of All Too Soon, before the all-embracing You Go to My Head is brought forth.

Along next is the quietly copious Blues for Louise and the abundant Someday Sweetheart which are themselves backed seamlessly by the earnestly crafted, seven minute Low Life, the sumptuous Round My Old Deserted Farm and the upbeat and gorgeous swing-hued Shadow Waltz, the set rounding out on the languishing beauty within Ballad for Very Tired and Very Sad Lotus Eaters, coming to a close on the well-grooved Wee Dot.

Musicians:
Scott Silbert, saxophone
Amy Shock, bass
Robert Redd, piano
Check Redd, drums

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For those not in the know, the new album ANTI by the South German metal band need2destroy is a milestone in the reinterpretation of crossover, groove, and alternative metal.

It combines aggression, innovation, and familiar elements into a unique sound that is both fresh and catchy. Melodic hook lines, rousing rhythms, and Diego Carabajal’s distinctive voice are the hallmarks of a band whose last album, SHOW from 2019, is rightly considered one of the best releases in the crossover genre.

Dark shadows and deep abysses of humanity and its souls form the foundation of the lyrics, which are conveyed in an authentic way. The music of need2destroy is indescribable, unpredictable – fast, powerful, and full of energy, yet characterized by an unusual lightness.

Indeed, need2destroy defies any kind of categorization, creating an essence from the breadth of the four musicians, whose musical horizons open up a completely new sonic space. The album is a statement against the familiar, an invitation to break with old norms and embrace something new.

1. Thermometer
2. Zombie
3. Welcome Motherfucker
4. Super Pxrnx
5. Psiocótico
6. Preludio
7. Voces Internas
8. Horizonte Sistema
9. Esquizofrénico
10. El Fin
11. El Cielo
12. Bass Interlude

On an album full of power, passion, and energy, they open their new collection on the rhythmically infectious Thermometer and the throaty power of Zombie and then we get the melodical metal rocker Welcome Motherfucker, the full-on industrial metal of Super Pxrnx, the fist-raised, yet melodically sculpted Psiocótico, before the crushing Preludio is upon us.

Along next is the pounding Voces Internas and the emotively-driven rocker Horizonte Sistema and they are in turn backed brilliantly by the catchy strains of the alt-grooved Esquizofrénico, the languishing, yet formidable El Fin, the set rounding out on the crossover, low slung stirring balladry of El Cielo, coming to a close on the short, low ebb of a Bass Interlude.

need2destroy - WELCOME MOTHERFUCKER (2025) // Official Music Video

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For those not in the know, the rock band Bad Rain will release their debut album, Louder Than Words, complete with ten captivating songs on October 24th, 2025.

Originally founded as a solo project in 2023 by songwriter and drummer Veit Schlembach, it became a permanent band in 2024. The members come from different regions and areas and thus embody their motto: Rock from Everywhere. With their energetic sound and honest lyrics, Bad Rain is making their first strong mark on the rock scene.

With their debut album Louder Than Words, Bad Rain prove that they interpret the spirit of 80’s rock in a modern way - enriched with powerful halftime elements from metal, diverse blues influences, small fusion experiments, and surprising outbursts.

Whether it’s the up-tempo banger and first single High And Above, delivering dynamism, variety, and pure energy, or the touching ballad Black And Gray, which creates a very special atmosphere with keyboards, organ sounds, and acoustic guitars, this rock record has something for every taste.

1. High And Above
2. Room To Breathe
3. Louder Than Words
4. Chasing The Sun
5. Kingdom
6. Your Chains
7. Afterlife
8. Twisted Love
9. Heartattack
10. Black And Gray

With this album building a bridge between 90’s grunge and modern rock sounds, they open their new collection on the catchy pop hooks that drive High And Above and the propellent rocker Room To Breathe and then we get the lighter fare of Louder Than Words, and the formidable Chasing The Sun, before the strident Kingdom is upon us.

Along next is the melodically embracing Your Chains and the mid-tempo AOR Afterlife and they are in turn backed brilliantly by the low slung balladry of Twisted Love and the full ahead Heartattack, the set coming to a close on the rhythmically ariose Black And Gray.

Bad Rain - High and Above (Official Music Video)

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For those not in the know, Virtual Perish’s album Immor(t)al is an ambitious testament of the trio’s evolving sound, blending deathcore, metalcore, and melodic death metal in fascinating ways.

The lead single “Saviour” delivers a brutal first impression, uncompromising in both lyrics and music, accompanied by a visually stunning lyric video.

An instrumental version of the album will also be released at the end of October.

1. Saviour [3:52]
2. Immunity [2:59]
3. Frozen Witness [3:29]
4. Jadestone [3:29]
5. Euthanise [3:28]
6. Crippling Fear [3:29]
7. Fratricide [5:12]

Complete with uncompromising anthems and masterfully combining old-school Nu Metal influences with modern elements, it is still a sound that their fans all over the world will instantly recognize, they open their new collection on the thunderous Saviour and the poundingly melodic Immunity and come both the rhythmically industrial Frozen Witness and the metal-grunge of Jadestone.

Then we get the synth death-metal rocker Euthanise (which introduces powerhouse vocalist Iris) and the guttural Crippling Fear with the set coming to an almighty close on the prog-extreme metal sounds that drive Fratricide.

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For those not in the know, while the German classic rock band PILEDRIVER gave an impressive statement of their decades-long live presence with the release of the opulent Live CD / Blu-ray / DVD box set Live In Europe from 2023, the band now celebrate their 30th anniversary with their new album FIRST NATIONS ROCK, seven years after the release of their last studio album ROCKWALL.

During the recording of their fifth album, band founders Michael Sommerhoff and Peter Wagner welcomed three new additions to the PILEDRIVER lineup: keyboardist Tom Frerich, bassist Jens Heisterhagen, and drummer Dirk Sengotta.

Musically, the 14 new songs are truly a force to be reckoned with. PILEDRIVER demonstrate an impressive joy of playing throughout the entire recording, sure to delight any classic hard rock fan.

In short, Stefan Kaufmann as producer, alongside Michael Sommerhoff, and Martin Mattes Pfeiffer, who was responsible for the mix and mastering, together ensure an excellently balanced, powerful, yet never overpowering, sound that such an album must have.

1. Light Years From Here
2. Ridin’
3. We Will Be Rockin’ On
4. First Nation Rock
5. Another Treason
6. Comin’ Home
7. To The Edge Of The World
8. All Through The Night
9. FIRE!
10. There Comes A Time
11. The World’s On Fire
12. I Still Can’t Say Good-Bye
13. Back To Back
14. Shout It Out

With each song featuring catchy hook lines complete with varying degrees of instant band recognition, Piledriver open their new collection on the gutsy Light Years From Here and the free flowing AOR of Ridin’ and then we get the singalong rocker We Will Be Rockin’ On, the fist-pumper First Nation Rock, the rhythmically melodic Another Treason, with the lighter fare of Comin’ Home and the prog-rock of To The Edge Of The World along next.

Then we get the horns to the sky of All Through The Night and the infectious foot-tapping rocker FIRE! which are in turn backed by the veritably acoustic balladry of There Comes A Time, the angst-fueled The World’s On Fire and the gently melodic ballad I Still Can’t Say Good-Bye, this anniversary edition release now rounding out on the fervently charged Back To Back and closing on the formidable Shout It Out.

The new PILEDRIVER album will be released on November 14th, 2025, as a CD in a lavish 6-page digipak with a 24-page booklet, as well as on a double gatefold 12 inch vinyl with a duplex-printed poster. On Saturday, December 13th, 2025, the band will play an exclusive album release show at the Börse in Wuppertal.

PILEDRIVER - We Will Be Rockin’ On (Official Video)

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For those not in the know, acclaimed saxophonist/composer Jerome Sabbagh reconvenes his longstanding quartet for the first time in more than a decade for the timely .

Due out October 17th, 2025 via Analog Tone Factory, the album features guitarist Ben Monder, bassist Joe Martin, and new addition, drummer Nasheet Waits.

Saxophonist and composer Jerome Sabbagh has always prided himself on being an artist who stands up strongly for the qualities and principles that he believes in – artistic integrity, bold individuality, social consciousness, and a distinctive personal vision.

His vibrant new album asserts those values in a number of ways, wedding memorable compositions to fervent playing by Sabbagh’s longtime quartet. "Stand Up!" was recorded live to analog tape and released on the saxophonist’s own newly-founded label, Analog Tone Factory.

1. Lone Jack [6:01]
2. Michelle’s Song [4:19]
3. Lunar Cycle [4:17]
4. The Break Song [5:05]
5. High Falls [5:57]
6. Mosh Pit [3:21]
7. Vanguard [5:16]
8. Unbowed [5:23]

Celebrating more than 20 years with his outstanding quartet, Sabbagh opens his new recording on the sleek Lone Jack and then we get the quietly impassioned Michelle’s Song, the furtively sculpted Lunar Cycle, and then comes a jaunty affair that drives The Break Song.

Along next is the polished High Falls which is in turn backed by the strident fare of Mosh Pit, the set rounding out on the emotive Vanguard, coming to an all too soon close on the lustrous Unbowed.

Musicians:
Jerome Sabbagh - tenor saxophone
Ben Monder - guitar
Joe Martin - bass
Nasheet Waits - drums

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Two guitars gently envelop the uniquely evocative bandoneon of Dino Saluzzi on El Viejo Caminante, (‘The Old Wanderer’). Here, the Argentinean father and son team of Dino and José María Saluzzi are joined by Norway’s Jacob Young, in an album of musical depth and great charm.

“It fills me with joy”, says Dino Saluzzi, delighting in this recording’s sonic blend, with José on classical guitar and Jacob on Telecaster and acoustic steel-string guitar. “Jacob and José are very good together. They have different sounds, different visions, but when it comes to the artistic output there is something beautiful happening.”

The elder Saluzzi, who turned 90 in May, has lost none of his youthful enthusiasm for artistic collaboration, or for venturing beyond stylistic borders: “I always strive to make contact with new ideas outside my normal element,” he says, still seeking out contexts that offer, as he puts it, “potential for both musical and human growth.”

The program includes originals, new and old, by all three musicians, a song by Karin Krog as well as a couple of standards – Dino sees the album as a collection of music from different times and places that touches upon tango, Argentinean folk music and jazz and makes of these allusions something fresh.

1. La Ciudad De Los Aires Buenos [6:14]
2. Northern Sun [5:35]
3. Quiet March [5:25]
4. Buenos Aires 1950 [4:10]
5. Mi Hijo Y Yo [5:17]
6. Tiempos De Ausencias [4:26]
7. Someday My Prince Will Come [8:11]
8. Y Amo A Su Hermano [7:59]
9. El Viejo Caminante [5:22]
10. Dino Is Here [5:49]
11. Old House [6:35]
12. My One And Only Love [6:24]

Recorded in April 2023 2021-2024 in Saluzzi Music Studio, Buenos Aires, the album opens on the dulcet elegance of La Ciudad De Los Aires Buenos, the cultured Northern Sun and the gossamer of Quiet March, and then we are gifted the atmospheric Buenos Aires 1950, the engaging Mi Hijo Y Yo and the playful Tiempos De Ausencias.

Along next is the refinement of Someday My Prince Will Come, the languishing beauty of Y Amo A Su Hermano and some accordion-driven excellence that drives El Viejo Caminante, which are followed seamlessly by the perky Dino Is Here, the new set rounding out on the all-embracing Old House, closing on an earnest yearn that thrives throughout My One And Only Love.

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Dino Saluzzi @ Spotify

The striking cover image of an abandoned swing illuminated against a field of glittering stars makes a compelling visual metaphor for the music on Close. “Music is a twilight language,” Steve Tibbetts confirms. “The job is to translate some shadow into sound.”

On his 11th ECM release the Minnesotan guitarist resumes the quest, slowly developing his yearning improvised melodies over layered loops and drones and darkly rumbling percussion.

If the sound colors, including distorted electric guitar and sparkling 12 string acoustic, make this music of the west, its gradual, almost hypnotic unfolding continues to suggest eastern affinities. “I am still reaching for the evocative sound of Sultan Khan,” says Tibbetts, speaking of the late Indian sarangi master whose playing has long been among his major influences.

1. We Begin, Part 1 [1:10]
2. We Begin, Part 2 [7:44]
3. We Begin, Part 3 [3:01]
4. Away, Part 1 [04:54]
5. Away, Part 2 [00:58]
6. Away, Part 3[1:14]
7. Remember, Part 1 [9:46]
8. Remember, Part 2 [1:57]
9. Somewhere, Part 1 [00:35]
10. Somewhere, Part 2 [00:52]
11. Somewhere, Part 3 [6:26]
12. Anywhere [1:19]
13. Everywhere, Part 1 [1:00]
14. Everywhere, Part 2 [1:21]
15. Everywhere, Part 3 [00:44]
16. Everywhere, Part 4 [7:07]
17. Everywhere, Part 5 [1:15]
18. Remember and [2:38]
19. Remember and Wish [3:51]
20. We End [1:33]

Recorded between 2021-2024 in St. Paul, Minnesota, the album opens on the haunting We Begin, Part 1, the organic Part 2 and the stoic Part 3, and then we are gifted the atmospheric Away, Part 1, the effective Part 2 and the resplendent Part 3, and they are backed by a stillness that surges within Remember, Part 1 and the veritably crystalline nature of Part 2.

Along next is the lucid Somewhere, Part 1, the tactile Part 2 and the strident fare of Part 3, which is followed seamlessly by the emotive Anywhere, then we get the quintet of Everywhere: which opens on the glistening Part 1 and the soulful Part 2 and then comes the ethereal Part 3, the confident Part 4 and a quietly sweeping Part 5, the new set closing on the elegance of Remember and, the comfortable ambiance of Remember and Wish and the effervescent, yet willingly so We End.

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www.stevetibbetts.com

The Science of Sound, the third album from Deep Energy Orchestra led by bassist and composer Jason Everett (aka Mister E), is a sweeping fusion of Indian classical rhythms, progressive rock, jazz, funk, and orchestral textures.

It features Joe Deninzon (Kansas), Gary Husband, Trey Gunn, Adam Holzman, and V. Selvaganesh. With additional contributions from Mark Lettieri (Snarky Puppy), U. Rajesh, Mahesh Vinayakram, Radhika Iyer, John Wubbenhorst, and Eric “Doc” Smith.

1. Morning Over Madrid (feat. Gary Husband)
2. Dance of the Woodnymphs (feat. V. Selvaganesh, U. Rajesh)
3. Captain Quirk (feat. Joe Deninzon, Adam Holzman, Mark Lettieri)
4. The Dancers (feat. Mahesh Vinayakram)
5. Secrets of Subtraction (feat. Gary Husband)
6. Fireflies (feat. Trey Gunn, U. Rajesh, Ganesh Kumar)
7. Solar Playground (feat. Adam Holzman, Trey Gunn, Joe Deninzon)
8. Stargazing (feat. Joe Deninzon)

With the group bringing together an exceptional roster of internationally recognized artists, the album opens on an cultured, nay spirited preciseness that drives Morning Over Madrid (feat. Gary Husband) and the atmospherically Eastern-fueled Dance of the Woodnymphs (feat. V. Selvaganesh, U. Rajesh) and then comes the progressively rhythmical Captain Quirk (feat. Joe Deninzon, Adam Holzman, Mark Lettieri) and the harmoniously melodic The Dancers (feat. Mahesh Vinayakram).

Along next is the funkily grooved Secrets of Subtraction (feat. Gary Husband) and the frenetically charged Fireflies (feat. Trey Gunn, U. Rajesh, Ganesh Kumar), the new set rounding out on the vociferous Solar Playground (feat. Adam Holzman, Trey Gunn, Joe Deninzon), closing on a gentle hipsway found within the sumptuous yearnings of Stargazing (feat. Joe Deninzon).

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Trey Gunn and David Forlano mark the start of a unique collaboration carved from the high desert of New Mexico. Both artists bring a history of genre-bending musical explorations.

Gunn is a long-established figure in the prog rock/improvisation scene from his years with King Crimson to his work with collaborators around the world.

Forlano melds free-improvisation, electronics and live sampling into their sound.

Within their performances the sounds of each player are accessed by the other to create a hyper-refractive audio experience.

1. Select Habits of Invertebrates
2. Mono No Waves
3. Litigation of the Monkey
4. Simulacra
5. The Perfect Matchstick
6. Paper Thin Flavor
7. The Winds That Ended history

Taken from two live recording sessions on November 22nd and December 6th, 2024, the album opens on the shimmeringly spacial, yet industrially driven Select Habits of Invertebrates and the veritably translucent, at times statically-charged effervescence of Mono No Waves and then comes the progressively organic feel of the fluid Litigation of the Monkey, the atmospherically-charged, informative Simulacra, the esoterically data-fueled The Perfect Matchstick, the set rounding out on an emphatical sheerness that emanates from within Paper Thin Flavor, coming to a close on the strident confidence of The Winds That Ended history.

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Official Trey Gunn Website

For those not in the know, originally from San Antonio, Texas, and known as an exceptional guitar player besides being a tremendous songwriting talent, Christopher Cross released his eponymous debut at the end of 1979.

With its first single “Ride Like The Wind” beginning a five-plus month run on the Billboard Hot 100 in February, peaking at Number 2 (for four weeks), the #1 smash “Sailing” wasn’t far behind being released in May of 1980.

“Never Be The Same” (# 15) and “Say You’ll Be Mine” with Nicolette Larson on background vocals (# 20) all followed and made certain that Christopher Cross spent 1980 into 1981 dominating the charts and the airwaves.

In 1981, Cross achieved something no one had ever done before at the Grammy Awards. Cross swept the “Big Four” awards which included not only Best Album and Best New Artist, but both Record and Song of the Year for “Sailing.” “Sailing” also took home the Grammy for Best Arrangement Accompanying Vocalist to bring the awards total to five at the 23rd Annual Grammy Awards.

Cross’ chart success continued with “Arthur’s Theme (Best That You Can Do), from the film Arthur. He not only hit #1 again, but won an Academy Award for Best Original Song.

Another Page’s “All Right” and “No Time For Talk” landed in the Top 40, and “Think Of Laura” (popularized through its use on General Hospital) became his fourth Top 10 hit. “A Chance For Heaven (Swimming Theme From The Official Music Of The XXIIIrd Olympiad Los Angeles 1984)” hit #16 on the Adult Contemporary Charts, and “Loving Strangers (David’s Theme From Nothing In Common) cracked the Top 30.

All Right: The Worldwide Singles 1980–1988 (releasing November 14th, 2025 via Omnivore Recordings) collects all of Christopher Cross’ domestic and international A-sides from those years. Available as a 2-LP set on translucent pink and green vinyl, the set contains the original single versions, and the 2-CD counterpart adds the B-sides on the second disc.

Disc 1: A-Sides
1.Ride Like The Wind (Single Edit)
2. Sailing
3. Never Be The Same (Single Edit)
4. Mary Ann
5. Say You’ll Be Mine
6. Arthur’s Theme (Best That You Can Do)
7. All Right (Single Edit)
8. No Time For Talk
9. Deal ‘Em Again
10. Think Of Laura
11. A Chance For Heaven (Swimming Theme From The Official Music Of The XXIIIrd Olympiad Los Angeles 1984)
12. Talking In My Sleep
13. Charm The Snake (Single Edit)
14. That Girl
15. Every Turn Of The World (Remix)
16. Love Is Love (In Any Language) (Single Edit)
17. Loving Strangers (David’s Theme from Nothing In Common) (Single Edit)
18. Someday
19. I Will (Take You Forever) (Duet with Frances Ruffelle) (Single Edit)
20. Swept Away (Fade)

Opening this INCREDIBLE new collection is the song that catapulted Christopher Cross into stardom, the absolutely top shelf Ride Like The Wind which is backed by the resonating Sailing, the simpler times that come to mind whilst listening to Never Be The Same, the summer breeze of Mary Ann and the harmonious gem Say You’ll Be Mine, before a track like the atmospherically brilliant, charming and adorable Arthur’s Theme (Best That You Can Do) is brought forth, along with the poignant All Right, the soothing No Time For Talk and both the 80’s-charged synth of Deal ‘Em Again and the romantic Think Of Laura.

Up next is the underrated contemporary cut A Chance For Heaven (Swimming Theme From The Official Music Of The XXIIIrd Olympiad Los Angeles 1984), the simply ethereal Talking In My Sleep and closest he came to a straight rock song with Charm The Snake, before we are given the perfect synthpop of That Girl, the 80’s action movie ready cut Every Turn Of The World, the first disc rounding out on the propellent Love Is Love (In Any Language), the bittersweet melancholy that drives Loving Strangers (David’s Theme from Nothing In Common), the catchy Someday, closing out on the golden hour of music within I Will (Take You Forever) (Duet with Frances Ruffelle) and the simply beautiful Swept Away (Fade).

Disc 2: B-Sides
1. Minstrel Gigolo (Single Edit)
2. Poor Shirley
3. The Light Is On
4. Spinning
5. Long World
6. Words Of Wisdom
7. Baby Says No
8. Open Your Heart
9. Love Found A Home
10. Just One Look

The second disc, this one chock full of luscious, some unheard by millions for decades now B-Sides, opens with the sumptuously beautiful Minstrel Gigolo, the deeply meaningful Poor Shirley and the easy breezy The Light Is On and then we get the romantic melodic Spinning, the calming, uplifting and soothing Long World, the deepness of lyric within Words Of Wisdom, the easy listening of Baby Says No, the disc rounding out on the delightfully sax and guitar-hued Open Your Heart, the melodious Love Found A Home, closing on the 80’s smoothness of Just One Look.

This compilation is produced by multiple Grammy-winning producer Cheryl Pawelski and Brad Rosenberger and remastered by multiple Grammy-winning engineer Michael Graves.

With liner notes from Garrett Price, director of the HBO Original film Yacht Rock: A Dockumentary, All Right: The Worldwide Singles 1980–1988 chronicles Christopher Cross’ whirlwind first decade.

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For those not in the know, Dion has set the release of The Rock ‘n’ Roll Philosopher, an album companion to his book, co-authored with Adam Jablin, of the same title for October 24th, 2025 through KTBA Records both digitally and on CD.

It’s the label founded by Joe Bonamassa and Roy Weisman that has released his recent string of much lauded collaborative albums including Blues With Friends (2020), Stomping Ground (2021) and last year’s Girl Friends.

The new album is preceded by today’s release through all streaming services of “I’m Your Gangster of Love,” a brand-new recording and one of six songs on the album written by Dion and Mike Aquilina.

The new album is a meticulously curated combination of newly written and recorded songs, reimagined versions of several Dion classics as well as a representation of newer material recorded over the last decade. Like the book, The Rock ‘n’ Roll Philosopher album is a reflection of Dion’s life’s journey.

In the album notes, he explains, “I pulled together some of the songs I discussed in the book and some of them I changed.” He describes the book as “a wide-ranging memoir in which I talk about music, addiction, recovery, friendships, God, creativity, relationships and all the important things in life from which I’ve learned important lessons.”

1. I’m Your Gangster Of Love
2. New York Minute
3. Ruby Baby
4. Take It Back (feat. Joe Bonamassa)
5. New York Is My Home
6. Cryin’ Shame (feat. Sonny Landreth)
7. Dancing Girl (feat. Mark Knopfler)
8. In A Heartbeat Of Time
9. Serenade / Come To The Cross
10. If You Wanna Rock And Roll (feat. Eric Clapton)
11. Ride With You
12. Abraham, Martin And John
13. King Of The New York Streets
14. Runaround Sue
15. The Wanderer
16. Mother And Son

This dutifully refreshing new album opens on the delicious bluesfest that rocks throughout the brilliantly powerful I’m Your Gangster Of Love and the rhythmically melodious New York Minute and then we get the shuffling coolness of Ruby Baby, a brilliantly churning Take It Back (featuring guitar legend Joe Bonamassa), the harmoniously smooth New York Is My Home Cryin’ Shame (featuring Sonny Landreth), and both the Dire blues of Dancing Girl (featuring Straits’ leader Mark Knopfler) and the all-embracing rocker In A Heartbeat Of Time Along next is the Gospel-hued duo of Serenade / Come To The Cross and the grooved rock of If You Wanna Rock And Roll (featuring the legend himself Eric Clapton) and they are in turn backed by the rhythmically infectious Ride With You, a genuinely soulful ease that thrives within Abraham, Martin And John, then come the Chicago-imbibed rock melodies of King Of The New York Streets, the set rounding out on the generational rocker Runaround Sue, the absolute banger The Wanderer, coming to a close on the emotive Mother And Son.

The album also includes comprehensive album notes by music historian, journalist and longtime Dion intimate Gene Sculatti that are based on a recent conversation. He told Sculatti that the songs heard on The Rock ’N’ Roll Philosopher are, in essence, “an ideal set list ... the songs that I’d most like to play, all together in the perfect concert.”

This compilation is produced by multiple Grammy-winning producer Cheryl Pawelski and Brad Rosenberger and remastered by multiple Grammy-winning engineer Michael Graves.

Dion - I’m Your Gangster Of Love [Official Music Video]

Dion - New York Minute [Official Music Video]

Dion - Take It Back with Joe Bonamassa [Official Music Video]

Official Website

For those not in the know, born in Paris in 1990, Raphaël Pannier is a French drummer, composer, bandleader, and educator whose work bridges jazz traditions with contemporary and global influences.

After studying classical percussion and jazz in Paris, he was awarded a scholarship to the prestigious Berklee College of Music in Boston in 2010. He earned his Bachelor’s degree in 2014, then moved to New York City, where he received another scholarship to pursue a Master’s degree at the Manhattan School of Music, which he completed in 2017.

From 2014 to 2020, Raphaël lived and worked in New York, performing and touring with a wide range of artists including Chad Lefkowitz-Brown, Steve Wilson, Bob James, Marcos Valle, Emil Afrasiyab, and Manuel Valera. He has appeared on over 30 albums across various genres and performed at many major venues across the world.

In 2019, Raphaël recorded his first album as a leader and composer, titled Faune and in 2020 he received a grant from the French-American Cultural Exchange Foundation (FACE) to record a second album with Miguel Zenón. The result was Letter to a Friend (2023) and in 2024, Raphaël launched a major cross-cultural project inspired by his lifelong admiration for Senegalese drum master Doudou N’Diaye Rose.

Collaborating with griot master drummer Khadim Niang, he led a ten-day residency in Saint-Louis, Senegal, uniting his jazz quartet (with Thomas Enhco, Yosvany Terry, and François Moutin) with a group of eight sabar percussionists.

Supported by the Saint-Louis Jazz Festival and the French Institute of Senegal, this groundbreaking collaboration resulted in a live album, Live in Saint Louis, Senegal, will be released November 7th, 2025.

1. Lonely Woman
2. Xalat Bou Set
3. Hommage To Doudou N’Daiye Rose
4. Djolokanete!
5. Take Five
6. Naima
7. Sine Saloum

This masterfully sculpted live recording opens on the smolderingly luxuriant Lonely Woman and sumptuously velvet tones of Xalat Bou Set and they are backed by the fantastically spirited Hommage To Doudou N’Daiye Rose, the vibrantly impassioned Djolokanete! and the fervently charged crowd pleaser Take Five, the set rounding out on the plush Naima, closing on the rhythmically melodic musical wonderment of Sine Saloum.

Official Purchase Link

Official Website

For those not in the know, groundbreaking composer/vocalist Sara Serpa and visionary pianist/composer Matt Mitchell present their new album End of Something, a bold, intimate new duo album out November 7th, 2025 via Obliquity Records.

With 15 striking tracks weaving through composition and improvisation, the album perfectly captures the deep musical connection Serpa and Mitchell have cultivated between themselves over years of collaboration.

End of Something includes original pieces by both artists as well as settings of texts by poets/writers Sonia Sanchez, Sofia de Mello Breyner, Virginia Woolf, and Luce Ingaray, plus a stunning rendition of Olivier Messiaen’s Les Bergers.

In short, the album’s sonic world unfolds with detailed interplay, harmonic richness and fearless exploration.

1. News Cycle
2. Diction
3. Hyper Pathos
4. The Future
5. Trouvaille
6. Les Bergers
7. Gluey Clamor
8. Carry You Like A River
9. Fettleau
10. Elegiac Foldouts
11. Ar e Vento
12. Tooth Helmet
13. End of Something
14. Dead Spirits
15. Hypo Bathos

This elegantly crafted, and sweepingly ambient new recording opens on a beautifully harmonic ebb and flow sounded out within News Cycle (much like the presses made back in the day) and the cautiously unfolding Diction and then we are brought forth a melancholy ache that melodiously resides within Hyper Pathos, the harmonically delicate The Future, the veritable ethereal Trouvaille, and both the thoughtful Les Bergers and the inquisitively abiding Gluey Clamor.

Along next on this album that features meticulously composed, dutifully improvised new tracks, is, for me, the stand out track on the collection, Carry You Like A River (which includes text from a haiku by American poet Sonia Sanchez), the sublime, unabashed austerity of Fettleau and the emotive Elegiac Foldouts, and they are in turn backed seamlessly by some folk vibes that bleed within the flow of Ar e Vento, a spaciously abstract feel to Tooth Helmet, the generously resolute End of Something, the set rounding out on the solemn chorale-hued Dead Spirits, coming to a close on the forlorn work Hypo Bathos.

Musicians:
Sara Serpa - voice
Matt Mitchell - piano

Official Purchase Link

Official Sara Serpa Website

For those not in the know, Maxximus, out November 14th, 2025 via TryTone Records, finds the core Spinifex band - saxophonist/artistic director Tobias Klein, trumpeter Bart Maris, saxophonist John Dikeman, guitarist Jasper Stadhouders, bassist Gonçalo Almeida and drummer Philipp Moser – joined by vibraphonist Evi Filippou, cellist Elisabeth Coudoux and Jessica Pavone (viola).

With such a volatile concoction of propulsive energy, full-throttle dynamics and ferocious abandon as the default setting, how does a band like Spinifex ramp things up to a level fit for such a landmark anniversary?

Expanding the ensemble is one option, as implied by the title of the group’s celebratory new release, Maxximus, which bolsters the line-up with three deftly chosen special guests. But Spinifex– in characteristically unpredictable fashion – has also opted to subvert expectations by… taking a quieter approach?

Well, relatively speaking. For Maxximus the six members of Spinifex maintain their trademark vigor but supplement their regular arsenal of instruments with an array of acoustic and less-amplified alternatives.

1. Smitten
2. Sack & Ash
3. Phoenix
4. Springend
5. Annie Golden
6. The Privilege of Playing the Wrong Notes

This masterful blend of free jazz and veritable punk rock opens on an earnestly leaning yearn, latterly a frenetically spirited affair that threads throughout Smitten (which for a quick second I thought was going to be the theme to the UK’s Coronation Street), and then we are gifted the rambunctious Sack & Ash, the industrially robust Phoenix, some tunefully intricate, delicately honed and organically ambient combinations that come together for Springend, the set rounding out on the stirringly impassioned Annie Golden, coming to a close on the emphatically sculpted, growing brilliance of the cultured The Privilege of Playing the Wrong Notes.

Musicians:
Jessica Pavone - viola
Elisabeth Coudoux - cello
Evi Filippou, vibraphone/percussion
Tobias Klein - bass clarinet/alto sax
Bart Maris - trumpet
John Dikeman - tenor sax
Jasper Stadhouders - guitar
Gonçalo Almeida - double bass
Philipp Moser - drums

Official Purchase Link

Official Website

For those not in the know, St Johns Wood Affair’s second album 2 isn’t a follow-up ... it’s a psychedelic storm reborn. Recorded raw with zero digital polish, it’s a ramshackle wonder, brimming with happy accidents.

Secret Garden and Memory Lane tugs heartstrings with fragile piano, while Dream Farm — an unplanned epic—unleashes Keith Smart’s blistering Monster Strat solo.

Festival anthems collide with first-take magic, proving the best vibes come unscripted. This is vintage soul meeting chaotic gold — a sophomore leap that lands with wild, sweet abandon.

Ladies and gentlemen, fasten your seatbelts and prepare for liftoff – meet St Johns Wood Affair, the band that proves the 60’s never really ended, they just got better with age!

1. Centre Of Your Universe [3:10]
2. Follow Me To The Stars [5:15]
3. Can You See Me? [3:53]
4. Hoping On The Train In Vain [5:17]
5. Magic Carpet Ride [5:42]
6. Memory Lane [4:13]
7. Secret Garden [4:48]
8. TV Eyes [3:38]
9. Dream Farm [6:26]

This psychedelic portal back into a time when things seemed so innocent, so pleasing, so good damn happy, they open their new collection on the smoothly rhythmic Centre Of Your Universe and the guitar driven Follow Me To The Stars and then we get the pop-rock of Can You See Me? and the impassioned Hoping On The Train In Vain.

Then we get a trippy, free flowing Magic Carpet Ride which is itself backed effortlessly by the Oasis-esque Memory Lane, the opulent Secret Garden, the new musical experience rounding out on the determined rocker TV Eyes, coming to a close on the languishing beauty of Dream Farm.

ST JOHNS WOOD AFFAIR:
Keith Smart: Lead vocals, acoustic guitars, electric guitars, loops, Glockenspiel & Keyboards (on Dream Farm)
Francine Smart: Backing vocals, linear sampler and additional percussion
Anne Whittet: Keyboards
Carlton Jarvis: Drums
Adrian Hillier: Bass & backing vocals

Special guests:
Ben Hillier: Drums on Hoping On The Train in Vain, Centre of Your Universe, Memory Lane & Dream Farm
Ellie Clapcott: Spoken introduction on Magic Carpet Ride

Official Website

Official Purchase Link

For those not in the know, Edward Rogers’ new album Astor Place is what happens when five years of life gets distilled into one deeply personal musical journey: from childhood memories on Birmingham’s Eldon Road to the bohemian streets of Manhattan’s East Village, Rogers has crafted his most intimate statement yet, four years after his last solo venture.

Working with producer Don Fleming for the first time, these songs span emotional territories as varied as their instrumentation — the magical story behind a gifted drum becomes Magical Drum, rockers like Romeo sit comfortably beside contemplative ballads like The Olde Church, and every track benefits from Rogers’ decision to record with live musicians capturing spontaneous chemistry in real time.

This isn’t just geographic autobiography set to music; it’s proof that the most universal songs often spring from the most personal places, with Fleming’s distinctive production adding layers of sonic intrigue to Rogers’ already compelling songcraft.

1. Astor Place [3:21]
2. The Olde Church [3:14]
3. Lies Cries And Alibis [3:32]
4. Romeo [2:59]
5. Magical Drum [2:57]
6. Diamonds Hidden In The Pearls [3:24]
7. Tears In My Martini [3:24]
8. I Walk Behind Your Shadow [3:51]
9. 15 Eldon Road [3:59]
10. On The Other Side Of The Rainbow [3:00]

Blending London fog and NYC grit, with Brit‑folk, glam‑inflected pop, and cinematic storytelling, Edward opens his new album on the guitar-driven rocker Astor Place and the melodically harmonious The Olde Church and they are backed by the luxuriant Lies Cries And Alibis, the driven Romeo and then comes the 70’s-hued Magical Drum.

Along next is the languishing beauty of Diamonds Hidden In The Pearls and the veritably shimmering, countrified rock of Tears In My Martini and they are in turn followed by the low key I Walk Behind Your Shadow, the set rounding out on the wistful storytelling within 15 Eldon Road, coming to a close on the veritably smoldering balladry of On The Other Side Of The Rainbow.

Musicians:
Edward Rogers – Vocals
Steve Bernstein – Slide Trumpet, Alto Horn
Claudia Chopek – Violin
Don Fleming – Guitars, Keyboards, Percussion, Backing Vocals
Joe McGinty – Piano
Eleanor Norton – Cello
Don Piper – Guitar, Backing Vocals
Tony Shanahan – Bass
Steve Shelley – Drums, Percussion
Matt Sweeney – Acoustic Guitar (Diamonds Hidden In The Pearls)

Official Purchase Link

www.edwardrogersmusic.com

For those not in the know, Smash Palace’s new album 87 is what happens when the music industry’s best-laid plans meet reality’s wrecking ball: the Butler brothers had their Epic Records follow-up locked and loaded in 1987, then A&R departures and management mayhem turned their sure thing into a what if that’s been haunting collectors for nearly four decades.

Now, 38 years later, these lost songs finally get their due — five tracks lovingly rerecorded by the original lineup with four decades of wisdom applied to already - bursting potential, plus five raw 1987 demos that sound like they were recorded in a parallel universe where jangle-pop met power-rock and had beautiful keyboard-driven babies.

From the anthemic thrust that made Living on the Borderline essential listening to confessional gems that had critics reaching for superlatives, this isn’t just archaeological curiosity — it’s proof that great songs don’t expire, they just ferment into something stronger.

1. Bitter Blue [3:11]
2. I’ll Be There [4:33]
3. Poor Man’s Paradise [4:07]
4. Top Of The World [4:21]
5. Everything Under The Sun [4:02]
6. Along For The Ride [3:56]
7. Centipede [4:20]
8. Stranger Than Strange [3:59]
9. First Time For Everything [4:17]
10. Imaginary Lines [6:07]

This brilliant meld of 60’s jangle rock, 70’s rock swagger, 80’s power pop, and 90’s Brit rock, opens on the shiny AOR of Bitter Blue and the guitar rocker I’ll Be There and then we get the mid-tempo strutter Poor Man’s Paradise, the guitar balladry of Top Of The World and the impassioned Everything Under The Sun.

Along next is the melodic rock, Psychedelic furs-esque Along For The Ride and the harmonically driven Centipede and they are followed seamlessly by the motivated Stranger Than Strange, the set rounding out on the drum and key-led easy listening of First Time For Everything, closing on the low key psych-rock of Imaginary Lines.

Official Purchase Link

Smash Palace @ Bandcamp

For those not in the know, deep beneath Denmark Street in 1967, while London’s flower children danced in the daylight above, four seasoned R&B veterans were cooking up something extraordinary.

Elmer Gantry’s Velvet Opera weren’t just changing their name from The Five Proud Walkers – they were transforming from blues purists into psychedelic alchemists.

With Dave Elmer Gantry Terry leading the congregation (in a preacher’s hat that would make any revival tent proud), backed by Colin Forster’s guitar prophecies, John Ford’s thunderous bass, and Richard Hud Hudson’s drum revelations, they turned that basement into rock’n’roll’s most exciting underground church.

Their debut single Flames burned so hot that even Led Zeppelin had to cover it, while their self-titled album packed more ideas into three minutes than most bands managed in their entire careers. From Mother Writes (powerful enough to make Pete Townshend check his amp settings) to Mary Jane (too clever for the BBC’s comfort), every track captures a band operating at full power.

Think Like A Key Music presents these perfectly crafted capsules of an era when anything seemed possible – as long as you had enough vision and a basement to call your own.

1. Intro
2. Mother Writes
3. Mary Jane
4. I Was Cool
5. Walter Sly Meets Bill Bailey
6. Air
7. Lookin’ For A Happy Life
8. Flames
9. What’s The Point Of Leaving
10. Long Nights Of Summer
11. Dream Starts
12. Reaction Of Young Man
13. Now She’s Gone
14. Talk Of The Devil [From the short film Talk Of The Devil]
15. Salisbury Plain
16. Dreamy
17. A Quick “B”
18. Flames [Single Mix]
19. Mary Jane [Single Version]
20. Volcano
21. And I Remember
22. To Be With You
23. Salisbury Plain [Extended Demo Version]
24. Flames [Demo Version]

With every glorious moment of their 1968 masterpiece, plus essential rarities now lovingly brought together, they open on a short, yet drumstastic Intro and then the music erupts with the rhythmic Mother Writes, the psych-hued Mary Jane, the shimmering I Was Cool, the boombastic beauty Walter Sly Meets Bill Bailey and then we get the Eastern-flavored Air, the drum-led midtempo AOR of Lookin’ For A Happy Life, the jaunty pop-rock of Flames, the low slung What’s The Point Of Leaving, before the trio gives us the Beatles-esque Long Nights Of Summer, the playful Dream Starts and the spacial psych of Reaction Of Young Man.

Along next is the impassioned Now She’s Gone, the shimmering rocker Talk Of The Devil [From the short film Talk Of The Devil], the flirtatious Salisbury Plain, and they are in turn backed by the aptly-titled lushness of Dreamy, the guitar-fed A Quick “B” and single mixes of both Flames and Mary Jane, with the full on, harmonic-driven Volcano, the effervescent And I Remember and the atmospherically-charged To Be With You rounding things out, the set closing on extended and demo versions if both Salisbury Plain and another Flames.

Included is a 16-page booklet featuring Mike Stax’s deep dive into the band’s evolution (from R&B soldiers to psychedelic warriors) with the music itself having been expertly remastered by Prof. Stoned to make 1968 sound like yesterday.

It also comes housed in a 350g cardboard digipak (sturdier than Denmark Street’s foundations).

Official Purchase Link

For those not in the know, Art marks a significant milestone for Northern Irish musician Paul Archer - his first solo album in a 30-year career that spans acclaimed projects like Disreali Gears, Ghears, and Burning Codes.

This soulful collection represents a creative rebirth, thoughtfully divided between euphoric alt-rock (recorded in Leeds with producer Andy Hawkins) and contemplative cosmic soul (recorded in Belfast with Rick Bleakley). The album features impressive collaborations with Duke Special, Janet Henry, Jim Lockhart (ex-Horslips), and Jonny Quinn (ex-Snow Patrol), among others.

Art beautifully integrates Archer’s musical vision with his Abstract Expressionist visual art, which adorns the packaging. A triumphant return home and artistic statement from a gifted melodicist who continues to find light in the darkness.

1. Heavy Soul [3:00]
2. Art [3:28]
3. Belfast (Place Of My Soul) [3:45]
4. Struggles Won [5:14]
5. Fear Destroyer [3:10]
6. No FEAR [2:52]
7. Help Me Stand [3:23]
8. I’ll Be There For You [2:49]
9. You’re Not Alone [3:32]
10. Write It From The Soul [2:53]
11. Truth From Lies [4:16]
12. Detector [4:44]
13. Sticks And Stones [3:48]
14. Moving With The Light [2:37]

Fusing heartfelt storytelling with widescreen alt-rock, Archer opens on the low slung pop-rock of Heavy Soul and the jangly Art and then brings us the emotive Belfast (Place Of My Soul), the forthright Struggles Won, the alt-indie driven Fear Destroyer, and then we get both the psych-indie sound of No FEAR and the impassioned Help Me Stand.

Along next is the organically generous I’ll Be There For You and the strident You’re Not Alone and they are in turn backed by the languishing Write It From The Soul, the gently Gospel-esque Truth From Lies, the all-embracing Detector, the set rounding out on the propellent Sticks And Stones, closing on the transportive Moving With The Light.

This CD comes with an 8-page lyric booklet with additional visual elements and two exclusive bonus tracks not found on the vinyl.

Official Purchase Link

www.paularcherofficial.com

For those not in the know, British Lions’ Trouble with Women returns in a definitive CD edition, newly remastered by Prof. Stoned and housed in a deluxe digipak format.

Originally recorded at London’s RAK Studios in 1978 but unreleased until 1980, this lost classic emerged from a period of creative turbulence that saw the band crafting some of their most innovative work.

Featuring production from Greg Walsh and Phil Thornalley (later of The Cure), the album captures a band pushing forward against all odds, blending raw rock power with sophisticated studio craft.

This expanded edition includes nine bonus tracks featuring previously unreleased demos (including Eat The Rich for Status Quo), rare live recordings, and a wonderfully overblown US radio promo.

1. Trouble with Women
2. Any Port in a Storm
3. Lady Don’t Fall Backwards
4. High Noon
5. Lay Down Your Love
6. Waves of Love
7. Electric Chair
8. (Won’t You Give Him) One More Chance
9. Eat the Rich (The Status Quo Demo)
10. One More Chance to Run (Home Demo)
11. But the Night Is Young (Home Demo)
12. The Studio Song
13. Rising Sun (Live)
14. Come on (Live)
15. My Life’s in Your Hands (Live)
16. Wild One (Live)
17. US Radio Promo

Now complete with nine bonus tracks, inclusive of demos, live takes, and radio madness, they open on the sonically-charged Trouble with Women, the 70’s-imbibed rock of Any Port in a Storm, and the pop-rocker Lady Don’t Fall Backwards and then we are given the guitar-charged High Noon, the impassioned Lay Down Your Love, the melodic Waves of Love and both the rhythmic Electric Chair and the piano-fueled AOR beauty (Won’t You Give Him) One More Chance.

Up next are the nine bonus tracks that begin with the throaty rocker Eat the Rich (The Status Quo Demo) and home demos of both the shimmering psych rock of One More Chance to Run and the quietly alluring balladry of But the Night Is Young and then are backed supremely by a song dedicated to Greg at RAK Studios, the personalized The Studio Song, live cuts of the propellent Rising Sun, the frenetically-charged Come on, the shimmering My Life’s in Your Hands and the full on glam rocker Wild One, the set coming to a close on a short US Radio Promo.

Official Purchase Link

For those not in the know, while most musicians were busy chasing algorithms, Nash Albert packed his gear and headed for the Caucasus Mountains, where Georgia’s 5th-century musical ghosts still harmonize with the wind.

Kingdom of Love is what happens when you trade studio pressure for mountain air and ancient wisdom—ten genre-defying tracks where traditional panduri dances with psychedelic guitars and church bells ring through the centuries.

Reuniting with his 1990s American tour compatriots, Albert orchestrates a sonic feast that’s less album, more time machine: from the goosebump-inducing Georgian choir on Thought As Time to the heart-rending Maya, dedicated to the mother who first placed music in his hands.

Co-conspirator Enrico Beridze helps weave the lyrical spell, while legendary Bob Ludwig applies his final mastering magic before riding into the sunset of retirement.

In a world obsessed with the flavor of the moment, Albert delivers something far more intoxicating — a timeless reminder that beneath the noise of modern life, LOVE still beats as music’s eternal heart.

1. Thought As Time [5:02]
2. Better Home [5:06]
3. Professor Steiner’s Trip [4:17]
4. Berlin Wall [4:00]
5. Maya [2:55]
6. Around The Sun [3:04]
7. Beautiful Day [4:04]
8. Someone Else Is Me [3:25]
9. Stars [3:50]
10. My Friend [2:43]
11. Kingdom Of Love [3:33]

From Soviet folk to rock’n’roll rebel, this Georgian guitarist opens on the charged ambiance of Thought As Time and the rhythmic Better Home and then we get the jaunty cut Professor Steiner’s Trip, the impassioned Berlin Wall and the languishing, psych-hued ballad Maya.

Up next is the 70’s-hued rocker Around The Sun and the effortlessly free-flowing Beautiful Day and they are in turn backed by the melodious Someone Else Is Me, the veritably shimmering mid-tempo cut Stars, the album rounding out on the tender ballad My Friend, closing on the Eastern-imbibed, harmonic ambiance of Kingdom Of Love.

The CD includes an 8-page lyric booklet (perfect for following Nash’s poetic journey) and bears the final mastering touch of legendary Bob Ludwig before his retirement.

Simply put, this album is a sonic passport featuring authentic Georgian folk instruments — panduri, salamuri, doli, chipon and duduk.

Official Purchase Link

www.nashalbert.com

For those not in the know, some bands conquered the charts, others ruled the clubs — but Ice? They were too busy becoming legends without leaving their studio. Born from Sussex University’s creative cauldron in 1967, this mysterious outfit turned their complete lack of live appearances into pure mystique, armed with Hammond organ wizardry and arrangements sophisticated enough to make jazz cats weep with envy.

With just two official singles to their name — the pop perfection of Anniversary (Of Love) and the mind-bending Ice Man — they carved a unique niche in British rock history by proving that sometimes less really is more. Their third single Walk On The Water was apparently so steamy that Radio One demanded they cool it down to Walk Under Water just to get airplay, because even censors have their limits!

Though Ice melted away by 1968 (with members later surfacing in Affinity, Sailor, and even pioneering MIDI technology), their legend only crystallized over time.

Think Like A Key Music’s 2025 release Whisper Her Name (The Complete 1967-68 Recordings) finally brings together their complete recordings and radio session mysteries — proof that sometimes the bands you can’t see leave the most lasting impression on your ears.

1. Ice Man
2. Whisper Her Name (Maria Laine)
3. Anniversary (Of Love)
4. So Many Times
5. Walk on the Water
6. Time’s Fading Fast
7. Day Tripper
8. Ice Man
9. Wide Blue Yonder Boy
10. Open the Door to Your Heart
11. Burning Burning
12. Two Hearts
13. Little Girl in Wonderland
14. Like a Woman
15. Skyline
16. Wait
17. Monday
18. Tell Me
19. Silver Lady

With this set finally unfreezing one of UK psych’s strangest phantoms, ICE open their collection on the easy breeze of Ice Man, the triumphant Whisper Her Name (Maria Laine), the elegant Anniversary (Of Love) and the languishing So Many Times, and then we get given the pop-rock of Walk on the Water, the low key balladry of Time’s Fading Fast, a dutiful, albeit softer rendition of the Beatles’ Day Tripper, with another Ice Man and the Hendrix-esque rocker Wide Blue Yonder Boy are brought forth.

Up next is the rhythmical Open the Door to Your Heart, the feisty pop-rocker Burning Burning and the low slung Two Hearts, and they are in turn backed by the mid-tempo Little Girl in Wonderland, the soft touch of Like a Woman, the free-flowing Skyline, before the impassioned balladry of Wait, the gently strummed beauty Monday and both the sedately sumptuous Tell Me and the strum-tastic affair Silver Lady bring the set to a close.

This CD is inside a deluxe 6-panel 350g digifile (sturdier than their TV bookings ever were) and contains all known studio and BBC tracks (first collected by Angel Air in 2005) with notes sketching their elusive story, and has been remastered by Prof. Stoned for maximum spectral clarity.

Official Purchase Link

For those not in the know, Anton Barbeau’s new album Glitch Wizard is what happens when grief, psychedelics, and an unhealthy Steely Dan obsession collide in a basement studio named Dark Mystery Temple.

These 12 sonic spells were conjured while Barbeau’s father smoked final cigarettes in the next room, with an alternative rock dream team providing the magical backup: Dave Gregory (XTC) wielding guitar incantations, Andy Metcalfe (Soft Boys) weaving bass enchantments, and Donald Ross Skinner (Julian Cope) adding cosmic textures.

The result? A dense, glitching tapestry of psych-pop and krautfolk that’s less an album and more an emotional exorcism set to music—perfect for listeners who enjoy their pop with a side of existential crisis and a sprinkle of interdimensional travel.

1. Glitch Wizard [3:16]
2. Nightcrawler [3:14]
3. Cousins [4:06]
4. Cigarettes [1:41]
5. Feed The Machine [3:45]
6. Secret Sister Please [3:21]
7. Sing High [2:52]
8. Off The Hook [3:46]
9. Soft Golden Halo [1:24]
10. Almost Om [2:33]
11. All I Want Is A Little More Of Your Time [2:40]
12. Me Coughing [2:26]
13. A Pattern Forming [3:49]

Barbeau’s unique blend of pre-apocalyptic and psychedelic pop opens on the psych rocker Glitch Wizard and the reverberantly catchy Nightcrawler, and then we get given the smooth Cousins, the ambient Cigarettes, the opulent Feed The Machine and the side-winding Secret Sister Please.

Up next is the charismatically-charged Sing High and the piano-driven brilliance of Off The Hook, and they are in turn backed by the mid-tempo rocker Soft Golden Halo, the triumphant rock of Almost Om, before the throaty rocker All I Want Is A Little More Of Your Time, the trippy psych-hued Me Coughing and the funk-grooved spacial hipsway of A Pattern Forming bring the set to a close.

This CD is housed inside a 350g cardboard digifile (sturdier than your grip on reality after track 7) and features 12 tracks of psychedelic wizardry (no actual glitches included — those are intentional) and the packaging is designed to withstand both repeated listening and mild existential crises!

Official Purchase Link

www.antonbarbeau.com

For those not in the know, while sister album Glitch Wizard spelunked the caves of Anton Barbeau’s psyche, this companion album Dig The Light emerges with 13 tracks of musical sunshine.

Recorded at the same basement temple (before its darker twin was even complete), this album swaps introspection for connection, featuring psychedelic godfather Barry The Fish Melton trading licks with XTC’s Dave Gregory while The Moore Brothers add harmonies sweet enough to require a dental plan.

Where Glitch Wizard dives inward, Dig The Light extends a hand outward, offering dry, intimate production that lets big themes breathe without gasping. It’s the musical equivalent of finding an unexpected flashlight just as the sun sets — proof that even the master of psychedelic freak-outs knows when to guide us toward rather than away from the light.

1. Moondust Hallelujah [1:01]
2. Dogstar [4:29]
3. Cosmic Mind Awaken [4:26]
4. Dig The Light [2:29]
5. Incantation [3:21]
6. Come The Hummingbird [3:18]
7. Mushroom Madness [3:31]
8. All My Dreams [3:59]
9. I Saw Syd [1:48]
10. Life Gives You Lemons [1:34]
11. High On A Mountain Hill [3:17]
12. Mahogany Jam Jar [2:54]
13. Hallelujah Sun [3:24]

Barbeau’s unique blend of pre-apocalyptic and psychedelic pop opens on the shimmering Eastern-hued masterpiece Moondust Hallelujah and the electric guitar-fed Dogstar, and then we get given the ambient Cosmic Mind Awaken, the drum-led rock of Dig The Light, the low slung Incantation and the languishing Come The Hummingbird.

Up next is the gritty rocker Mushroom Madness and the gentler acoustic fare of All My Dreams, and they are in turn backed by the rhythmic I Saw Syd, the impassioned Life Gives You Lemons, the atmospherically-charged High On A Mountain Hill, before the laid back and summery Mahogany Jam Jar and the melodically lighter Hallelujah Sun bring the set to a close.

This CD is housed in eco-friendly 350g digifile (environmentally friendly, just like the message), features 13 tracks of sonic sunshine (no SPF required, but headphones recommended) and is the perfect vessel to catch Anton’s brightest rays.

Official Purchase Link

www.antonbarbeau.com

For those not in the know, Robert “Bobby” Callender never followed trends — he followed visions. A New Yorker with the soul of a seeker, he began his career in the early 60’s with a string of pop singles (including the hit “Little Star”) before evolving into one of psychedelic music’s most enigmatic figures.

Fusing jazz, R&B, Indian raga, and spoken-word mysticism, Callender released two cult albums — Rainbow (1968) and The Way (1971) — that sounded more like spiritual transmissions than records. Then, silence. For decades, his trail went cold… until now.

Rainbow: The Anniversary Concert, released by Think Like A Key Music o November 14th, 2025, marks his reemergence — an astonishing live performance of his masterpiece, staged more than 50 years after its original release.

And so he didn’t just return — he transcended.

1. Rainbow
2. Nature
3. Sade Masoch
4. Purple
5. Mother Superior
6. Autumn
7. A Man
8. I’m Just High on Life
9. Symphonic Pictures
10. Spiritual Chant of Thankfulness
11. The Flow Within Thee
12. Raga Man
13. Little Star

With the two discs capturing the full Rainbow concert in sound and vision, Callender opens on the softly beautiful title track Rainbow and the all-embracing Nature, and then we get given some storytelling within Sade Masoch, the effective Purple, the whispery Mother Superior and the alluring Autumn.

Up next is an absolutely absorbing A Man and a riveting I’m Just High on Life, and they are in turn backed by the melodious Symphonic Pictures, an ambient Spiritual Chant of Thankfulness, the elegant The Flow Within Thee, before the informative Raga Man and a 60th anniversary performance of Little Star bring the set to a close.

This is a two disc set that captures the full Rainbow concert in sound and vision as a digipak with a 16-page booklet and the DVD is Region 0 NTSC DVD.

Official Purchase Link

For those not in the know, Play On: A Raspberries Tribute proves why these power-pop pioneers matter: Rick Springfield electrifies “Go All The Way,” Lou Gramm powers through “Tonight,” The Bangles’ Vicki and Debbi Peterson sparkle on “I Wanna Be With You,” and John Waite owns “I Don’t Know What I Want.”

Add The Lemon Twigs’ brilliant “Let’s Pretend,” Marshall Crenshaw’s rootsy “Should I Wait,” plus original drummer Jim Bonfanti plays on four tracks and Eric Carmen’s new iconic count-in on “Tonight” — producers Ken Sharp and Fernando Perdomo have assembled everyone from chart-toppers to indie darlings, all celebrating the band that perfected Beatles melodies and driving rock.

Disc One:
1. Go All The Way - Rick Springfield
2. I Wanna Be With You - Vicki & Debbi Peterson
3. Let’s Pretend - The Lemon Twigs
4. Come Around And See Me - Katie Ferrara
5. Goin’ Nowhere Tonight - The Caulfields
6. Don’t Want To Say Goodbye - Robin Taylor Zander
7. Might As Well - Jesse Bryson (feat. The Kennedys)
8. It Seemed So Easy - The Spongetones
9. I Saw The Light - Adelaide Estep
10. Ecstasy - Eric Dover
11. On The Beach - Darian Sahanaja
12. If You Change Your Mind - Ken Sharp
13. Nobody Knows - Chris Price
14. I Reach for The Light - Bird Streets
15. Drivin’ Around - Popdudes
16. Hard To Get Over A Heartbreak - P. Hux
17. Waiting - Olivia Rubini
18. I Can Remember - Karla DeVito

With the two discs capturing pop perfection at its most deliciously best, the first disc opens on the melodic pop rock of Go All The Way (Rick Springfield), the jangly I Wanna Be With You (Vicki & Debbi Peterson), the airy Let’s Pretend (The Lemon Twigs) and the acoustic fare of Come Around And See Me (Katie Ferrara), then we get the alt-indie hit Goin’ Nowhere Tonight (The Caulfields), the streamlined Don’t Want To Say Goodbye (Robin Taylor Zander), the pop-tastic Might As Well (Jesse Bryson feat. The Kennedys) and both the indie essence of It Seemed So Easy (The Spongetones) and the breathy balladry of I Saw The Light by Adelaide Estep.

Along next is the _in your face pop-rock of Ecstasy (Eric Dover), the driven soft rock of On The Beach (Darian Sahanaja), the languishing If You Change Your Mind (Ken Sharp) and the euphoric Nobody Knows (Chris Price) and then we get brought forth the reaching alt-rocker I Reach for The Light (Bird Streets), the fun pop of the Beach Boys-esque Drivin’ Around (Popdudes), the AOR of Hard To Get Over A Heartbreak (P. Hux), with the ethereal Waiting (Olivia Rubini) and the rambunctious I Can Remember by Karla DeVito rounding the first disc out.

Disc Two:
19. Tonight - Lou Gramm
20. Play On - The Lemon Twigs
21. I Don’t Know What I Want - John Waite
22. Overnight Sensation (Hit Record) - Shoes
23. All Through The Night - The Hudson Brothers
24. Should I Wait - Marshall Crenshaw
25. Cry - Kasim Sulton
26. Making It Easy - Brasko
27. Last Dance - Evan Stanley
28. I Can Hardly Believe You’re Mine - John Powhida
29. Rose Colored Glasses - Rob Bonfiglio
30. I’m a Rocker - Ken Sharp
31. Party’s Over - The Chefs
32. Cruisin’ Music - Ronnie D’Addario
33. Starting Over - Tori Holub
34. Hands On You - Cherie Currie
35. Every Way I Can - The Toms
36. With You In My Life - Willie Wilcox
37. Please Let Me Come Back Home - Bambi

The second disc then opens on the throaty rocker Tonight (Lou Gramm), the alt-rocker Play On (The Lemon Twigs), the boombastic I Don’t Know What I Want (John Waite) and the rhythmic rock of Overnight Sensation (Hit Record) by Shoes, and they are in turn backed seamlessly by the crushing sounds of All Through The Night (The Hudson Brothers), the melodious duo of both Should I Wait (Marshall Crenshaw) and Cry (Kasim Sulton), and then come both the feisty rocker Making It Easy (Brasko) and the boat rock of Last Dance by Evan Stanley.

Up next is the playfully upbeat I Can Hardly Believe You’re Mine (John Powhida), the AOR of Rose Colored Glasses (Rob Bonfiglio), the glam rocker I’m a Rocker (Ken Sharp) and the dirty pop rocker Party’s Over (The Chefs) and then comes more Beach Boys-esque sounds on Cruisin’ Music (Ronnie D’Addario), the weightless balladry of Starting Over (Tori Holub), the gritty Runaways rock of Hands On You (Cherie Currie), with the likes of the rhythmic rocker Every Way I Can (The Toms), the beat-tastic With You In My Life (Willie Wilcox) and the late 60’s-imbibed Please Let Me Come Back Home by Bambi Kino bringing the 2CD set to a close.

This is two shiny discs of power-pop perfection packed in a digipak sturdy enough to withstand your most enthusiastic air guitar sessions and which also contains a 20-page full-color booklet with credits, photos and liner notes by Howie Edelson.

It contains 37 tracks meticulously arranged for maximum earworm potential Ultimate sonic time capsule preserving Raspberries’ legacy in a format that won’t disappear with your next phone upgrade.

Official Purchase Link

The Raspberries Official Facebook Page

Mac Rebennack, widely known as Dr. John, changed the course of popular music starting with his 1968 debut, Gris Gris and pushed it further with each new album, infusing his recordings with exciting new directions and influences while throwing off hits like “Right Place, Wrong Time” and “Such A Night” in his wake.

We are fortunate that the music continued to pour out of him until the world lost him in 2019—five decades after we’d first been hoodood.

The Estate of Dr. John and Omnivore Recordings are pleased to present Live At The Village Gate, a previously unheard performance (unless you were lucky enough to be there), recorded on the evening of March 5th, 1988.

The set features classics like “Mess Around,” “Georgia On My Mind,” and “Mardi Gras Day” — and even a crowd request for “Mama Roux” from his aforementioned debut album, Gris Gris—all, of course, played to perfection.

With mastering and restoration by multiple Grammy-winning engineer Michael Graves, Live At The Village Gate also includes new and informative line notes from The Second Disc’s Joe Marchese. It’s over 90 minutes of prime, live Dr. John, and as he says, “Let The Good Times Roll.” Experience Live At The Village Gate.

Disc One:
1. Renegade
2. Qualified
3. Life Is A One Way Ticket
4. Keep That Music Simple
5. One Dirty Woman
6. I’ve Been Hoodood
7. Rain

Featuring previously unissued performance from 1988 by the Rock & Roll Hall of Fame inductee, Dr. John opens his live show on the rhythmically melodical Renegade and the timeless grooves of Qualified, and then he brings forth the formidable Life Is A One Way Ticket, the Dr Johnny Fever-hued funky brilliance of Keep That Music Simple, the rocking blues of One Dirty Woman, and then come both the organ-driven beauty I’ve Been Hoodood and the soulful balladry of Rain.

Disc Two:
8. Let The Good Times Roll/Ooh Poo Pah Doo
9. Mess Around
10. Georgia On My Mind
11. Mama Roux
12. Mardi Gras Day

Along next is the soulful R&B of the combined Let The Good Times Roll/Ooh Poo Pah Doo and the piano-driven musical frenzy of Mess Around and they are in turn backed seamlessly by a slow n’ easy rendition of Georgia On My Mind and the low ebb, psych flow of Mama Roux, this classic live set coming to a close on a harmoniously cultured Mardi Gras Day.

Official Purchase Link

For those unaware, Award-winning Canadian composer Christopher Tyler Nickel’s penchant for imaginative combinations of instruments translates to his latest AVIE release, Music for Woodwind Choirs.

Each movement of the “Suite for Two Oboes and Two Cors Anglais”, takes its title from four prayers in the Christian liturgy – Kyrie, Dies Irae, Lacrimosa, Gloria – each one an abstract representation of the overall spirit and sentiment of these devotions.

Christopher’s “Symphony for Flute Choir” is a larger scale work for four flutes, plus piccolo, alto and bass flutes, that embodies an emotional breadth on a symphonic scale.

Suite for Two Oboes and Two Cors Anglais (2017)
1. I. Kyrie [4:29]
2. II. Dies Irae [4:50]
3. III. Lacrimosa [3:21]
4. IV. Gloria [2:40]

Roger Cole, Karin Walsh, oboes
Beth Orson, Erin Marks, Cors Anglais
Clyde Mitchell, conductor

This beautifully sculpted work of musical art begins on the Suite for Two Oboes and Two Cors Anglais (2017), which itself open on the seductively smooth Kyrie, then comes the elegant grandeur of Dies Irae, the pensive, yet confidently curious Lacrimosa, culminating on the flourishing Gloria.

Symphony for Flute Choir (2017)
5. Movement I [12:11]6. Movement II [5:33]
7. Movement III [7:14]
8. Movement IV [9:56]

Sarah Jackson, piccolo
Christie Reside, Rosanne Wieringa, Laura Vanek, Paul Hung, flutes
Anne-Elise Keefer, alto flute, Paolo Bortolussi, bass flute
Clyde Mitchell, conductor

Then we get the Symphony for Flute Choir (2017) which opens on the sternly opulent, twelve-minute Movement I, then we get brought forth the stoically-charmed, gently formidable Movement II, the emotively impassioned Movement III, the piece, and the set as a whole, coming to a close on the playfully confident, perky and adventurous, near ten minute Movement IV.

Official Purchase Link

www.christophernickel.com

For those not in the know, when your lead singer exits stage left, you’ve got two choices: find a replacement or reinvent yourself entirely. The Velvet Opera Mk II chose the latter path, and thank goodness they did.

After losing their Elmer in early ’69, the remaining members didn’t just change direction – they changed dimensions. Enter 12-string wizard Johnny Joyce (fresh from enchanting audiences with Beverley Kutner), joining Paul Brett, John Ford, and Richard Hudson on a journey from psychedelic freak-outs to folk-rock finesse.

Their sole album, Ride A Hustler’s Dream, isn’t just a record; it’s a snapshot of metamorphosis in action. From their mind-bending take on Statesboro Blues to the sitar-soaked Raga and Lime, this is what happens when talented musicians follow their muse down unexplored pathways.

Though their tale was brief (Ford and Hudson would soon craft chart success with The Strawbs), they left behind a fascinating chapter in British music’s evolution.

Think of it as the missing link between acid-rock ambition and folk-rock sophistication – and thank goodness someone kept the tapes rolling.

1. Ride A Hustler’s Dream
2. Statesboro Blues
3. Money By
4. Black Jack Davy
5. Raise The Light
6. Raga And Lime
7. Anna Dance Square
8. Depression
9. Don’t You Realise
10. Warm Day In July
11. Eleanor Rigby
12. Anna Dance Square (45rpm Mono Mix)
13. Don’t You Realise (45rpm Mono Mix)
14. She Keeps Giving Me These Feelings
15. There’s A Hole In My Pocket

These sonic sommeliers serving up indie vintages open their brilliant album on the velvety, Dylan-esque Ride A Hustler’s Dream, the organically-charged Statesboro Blues, and the guitar-fed Money By, and then we get the jaunty, harmonica-driven fare of Black Jack Davy, the Gospel-hued Raise The Light, the Eastern-tinged Raga And Lime and the joyful clap-along Anna Dance Square.

Up next is the melodically low slung Depression, the drum-led Don’t You Realise, and the initially child-read poem, which then blossoms into Warm Day In July, and they are in turn backed seamlessly by a quite stunningly opulent version of the Beatles’ Eleanor Rigby, before we are brought forth 45rpm Mono Mix’s of both Anna Dance Square and Don’t You Realise, the set coming to a close on the whispery She Keeps Giving Me These Feelings and an impassioned There’s A Hole In My Pocket.

Housed in a 350g cardboard digipak (as transformative as the band itself), this complete 1969 album is remastered by Prof. Stoned to sound fresher than a new 12-string.

It now includes four essential bonus tracks that complete the folk-rock transformation and comes with an 8-page booklet featuring Mike Stax’s deep dive into the band’s reinvention (from psych-pop to folk-rock glory).

Official Purchase Link

For those not in the know, Brandon Sanders returns to Savant Records, and his new recording is something to get excited about. After turning critics’ heads with two previous recordings, Brandon is stepping it up with his new project that’s all energy and heart. Part of the buzz comes from the stellar lineup.

Joining the session is pianist Eric Scott Reed, certainly a name that carries serious weight in jazz today. Reed is one of those rare players who can make any ensemble shine, and his chemistry with Brandon is remarkable, to say the least.

Also on hand is Jazzmeia Horn, the Grammy-nominated vocalist with the voice that’s been compared to Betty Carter and Sarah Vaughan. Joining forces with Sanders once again, she’s featured on two tracks, and her singular style-which combines the timeless with the futuristic-brings a whole other dimension to the music.

1. 8/4 Beat
2. Lasting Impression
3. Our Love Is Here To Stay
4. Shadowboxing
5. Tales of Mississippi
6. Soul Eyes
7. No BS for B.S.
8. Until You Come Back To Me (That’s What I’m Gonna Do)

This fully charged and wholly impassioned new recording opens on the sparkling 8/4 Beat and then brings us the rhythmically joyful Lasting impression, an effortless, simply heavenly, and soulfully vocalized Our Love Is Here To Stay (by Grammy-nominated vocalist Jazzmeia Horn) and then we are gifted the low-slung ambiance of Shadowboxing.

Up next is the scintillating Tales of Mississippi which is itself backed astutely by the languishing soft beauty of Soul Eyes, the new set rounding out on the upbeat and playfully perky No BS for B.S., coming to an all too soon close on another smoothly vocalized masterpiece from Horn, Until You Come Back To Me (That’s What I’m Gonna Do).

Official Purchase Links

Brandon Sanders | Lasting Impression - Official Video Album Announcement

For those not in the know, music on avian themes is a grand tradition of wild imagination. In this spirit, Richard Marsella’s The Birds of Marsville joins an august lineage of works based on birdsong, notably fellow ‘field guide’ compendia like Janequin’s Le chant des oyseaulx (1528) and Messiaen’s Catalogue d’oiseaux (1958).

These two chronologically distant French works share the aesthetic of being stylistically contemporary in their respective times. Marsville might be more usefully compared to Ottorino Respighi’s Gli Uccelli (The Birds, 1928) for how they employ older music as framing materials for birdsong –– Baroque music for Respighi and, for Richard, a carnivalesque synthesis of vintage dance steps; calliope; rock, jazz, and country gestures; cartoon foley; and old-timey synth noise.

1. Birds 1-39 [18:52]
2. Birds 40-76 [17:40]

Written using a mechanical street organ, built by Brampton inventor and Cuckoo clock enthusiast, Henk De Graauw, and having premiered as a one-person show at the Guelph Jazz Festival 2022, this two sectioned work of musical art (that runs at about 36 minutes combined) is so alluring, so entrancing a listen that once you begin to lend your ears to it, it fast becomes a very, very hard thing to divert away your attention from.

“When I write “carnivalesque,” I’m not trying to be evocative, though this record certainly evokes the wonderful and the festive,” Friendly Rich explains. “The Birds of Marsville is, before anything else, a live performance and, as such, very much its own carnival. I had the privilege of working with Richard to present the premiere, versions at three outdoor sites at the Guelph Jazz Festival in September 2021.” “Then, the COVID pandemic was still affecting everyone and, as live music presenters, we were looking for ways to animate people’s lives in novel, safe, and welcoming ways. Nothing could have been better than this project.” This is a brand new recording from Friendly Rich, featuring a mechanical street organ (orchestrion) alongside a chamber ensemble:

Nichol Robertson (guitar)
Nick Fraser (drums)
Gregory Oh (organs, piano)
Ed Reifel (orchestral percussion)
Tom Richards (tuba & trombone)

Track Listing:
Introduction (0 to 1:50) Overture (1:51 to 3:17) Bird One: Songwriter (3:18 to 3:50) Bird Two: The Bum Bum (3:51 to 4:00) Bird Three: The Slob (4:01 to 4:37) Bird Four: The Sucker (4:38 to 5:33) Bird Five: The Marsvillian Farm Bird (5:34 to 5:53) Bird Six: The Cinder Block (5:54 to 6:11) Bird Seven: The Wood Block (6:12 to 6:25) Bird Eight: The Log Bird: 6:26 to 6:41) Bird Nine: The Bird Cloud Birds (6:42 to 7:15) Bird Ten: The Suicide Bomber (7:15 to 7:51) Bird Eleven: The School Shooter (7:52 to 8:02) Bird Twelve: The Frantic Atlantic Panic Bird (8:03 to 8:22) Bird Thirteen: The Scatterbrained Incel (8:23 to 8:56) Bird Fourteen: The Marsvillian Shadow Bird (8:57 to 9:10) Bird Fifteen: The Mumbling Mime (9:11 to 9:28) Bird Sixteen: The Honker (9:29 to 10:00) Bird Seventeen: The Ballooner (10:01 to 10:30) Bird Eighteen: Tongue in Cheek (10:31 to 10:38) Bird Nineteen: The Handy Bird (10:40 to 10:56) Bird Twenty: The Foot Bird (10:57 to 11:05) Bird Twenty-One: The Congenital Genital Bird (11:06 to 11:27) Bird Twenty-Two: The Hypnotist (11:28 to 12:24) Bird Twenty-Three: The Spitting Spatula (12:25 to 12:37) Bird Twenty-Four: The Storyteller Bird (12:38 to 13:17) Bird Twenty-Five: The Heckler (13:18 to 13:33) Bird Twenty-Six: The Laughing Ridiculer of Mount Sinus (13:34 to 14:03) Bird Twenty-Seven: The Buck-Toothed Rascal (14:04 to 14:38) Bird Twenty-Eight: The Fraudster (14:39 to 15:14) Bird Twenty-Nine: The Ladder Bird (15:15 to 15:36) Bird Thirty: The Steakettes (15:37 to 15:54) Bird Thirty-One: The Steaks (15:55 to 16:12) Bird Thirty-Two: The Wailing Death Bird (16:13 to 16:30) Bird Thirty-Three: The Beady-Eyed Cryers (16:30 to 16:55) Bird Thirty-Four: The Sinners Choir (16:56 to 17:55) Bird Thirty-Five: The Auspicious Pernicious War Bird (17:56 to 18:17) Bird Thirty-Six: The Pukes (18:18 to 18:30) Bird Thirty-Seven: The Nukes (18:31 to 18:51) Bird Thirty-Eight: The Mad Bird of Marsville (18:52 to 19:00) Bird Thirty-Nine: The Madder Bird of Marsville (19:01 to 19:08) Bird Forty: The Maddest Bird of Marsville (19:09 to 19:29) Bird Forty-One: The Sorting Booby (19:30 to 19:36) Bird Forty-Two: The Emergency Tit (19:37 to 19:49) Bird Forty-Three: The Fake Tit (19:50 to 20:00) Bird Forty-Four: The Humourless Tit (20:01 to 20:28) Bird Forty-Five: The TV Evangelists (20:29 to 21:06) Bird Forty-Six: The Inside-Out Bird (21:07 to 21:15) Bird Forty-Seven: The Dissonant Crooner (21:16 to 21:53) Bird Forty-Eight: The Welted Wart (Hog) (21:54 to 22:06) Bird Forty-Nine: The Smelly Foot Bird (22:07 to 22:38) Bird Fifty: The Raunchy Rotten Rodent (22:39 to 22:49) Bird Fifty-One: Garbage Dumpers (22:50 to 23:21) Bird Fifty-Two: The Marsvillian Horseface (23:22 to 23:42) Bird Fifty-Three: The Vericose-Veined Vane Bird (23:43 to 24:03) Bird Fifty-Four: The Golden Gold Digger (24:04 to 24:15) Bird Fifty-Five: The Marsvillian Pepper (24:16 to 24:39) Bird Fifty-Six: The Flirt Bird (24:40 to 25:04) Bird Fifty-Seven: The Vane Bird (25:05 to 25:34) Bird Fifty-Eight: The Fratatat (25:35 to 25:44) Bird Fifty-Nine: The Horny Bird of Marsville (25:45 to 26:00) Bird Sixty: The Pearly Bird (aka The Toothy Bro) (26:01 to 26:29) Bird Sixty-One: The Muscle Bird aka The Beach Bum (26:30 to 26:49) Bird Sixty-Two: Dumb Dumb Bird aka Squaliss Pissmissy (26:50 to 27:19) Bird Sixty Three: The Pampered Powdered White Beak (27:20 to 27:35) Bird Sixty-Four: The Spoiled Rotten Turd Bird (27:36 to 27:51) Bird Sixty-Five: The Spoiled Rich Bird (27:52 to 28:24) Bird Sixty-Six: The Carrot Birds (28:25 to 28:40) Bird Sixty-Seven: The Spaghetti Bird (28:41 to 28:56) Bird Sixty-Eight: The Banana Bird (28:57 to 29:09) Bird Sixty-Nine to Seventy-Three: The Tiny Birds (29:10 to 29:42) Bird Seventy-Four: The Iceman Bird (29:43 to 29:55) Bird Seventy-Five: The Teller Bird (29:56 to 30:10) Bird Seventy-Six: The Bowling Alley Bird (30:11 to 30:22) Bird Seventy-Seven: The Twitter Bird (30:23 to 30:41) Finale (30:41 to 36:32)

Official Purchase Link

Friendly Rich | The Birds of Marsville - Official Video

For those not in the know, Rose-Anna is Juno Nominated Noah Franche-Nolan’s second Cellar Live trio album with Jodi Proznick on bass and Nicholas Bracewell on drums.

The album is named after his Acadian great grandmother Rose-Anna Chassé. Rose-Anna played the organ in her local church in Grand Falls NB. The album’s form is grounded in the recurrence of Noah’s variations on his composition Sublimation.

The title of this piece alludes to the process of personal and spiritual transformation. Placed between these variations are songs that explore the spontaneous creativity of the trio’s improvisational ability, most notably the grooving anti-war anthem Hawks and the dynamic A Triangle is a Bird.

Calling upon the name and music of his ancestor, Noah acknowledges the transformative power of the music and knowledge that has been passed on to him through his family.

1. Sublimation I
2. Nasz Dom
3. Haxan
4. Hawks
5. Prayer
6. Rotations
7. Sublimation II
8. A Triangle Is A Bird
9. Union Town
10. Devotion
11. Sublimation III

The JUNO nominated pianist, improviser, and composer, opens his new trio recording on the shimmering elegance of Sublimation I and the sheer embodiment of gracefulness Nasz Dom and then brings us the subtle beauty of Haxan, the flirtatiously playful Hawks and then we are brought forth the ambiently-layered Prayer.

Along next is a genuine bottled stillness within Rotations which is in turn backed seamlessly by a strength in deliverance within the notes of Sublimation II, and then comes the, at first, quieted, latterly expansive and gilded A Triangle Is A Bird, the flourishing Union Town, the set rounding out on the delicate gossamer of Devotion, coming to a close on the forthright, strident even fare of Sublimation III.

Musicians:
Noah Franche-Nolan – Piano
Jodi Proznick – Bass
Nicholas Bracewell - Drums

Brand New Interview with Noah Franche-Nolan

Official Purchase Link

Official Website

For those not in the know, Canadian composer Gayle Young and American synthesist Robert Wheeler have announced their collaboration on a new album, titled From Grimsby to Milan, showcasing a creative and deliberately eccentric blend of experimental acoustic and electronic musical techniques.

The new work features Young playing her Amaranth, a stringed instrument that she invented, featuring 21 steel strings and three double bass strings to explore the microtonality that has been a trademark throughout her career.

Wheeler fuses his electronic palette on the Electrocomp EML 101 keyboard with Young’s acoustic composition, presenting a variety of percussive metallic sounds, motorized howls, and electric chirps.

From Grimsby to Milan will be released on September 5th, 2025 via Farpoint Recordings in digital and CD formats, with pre-orders soon to be available on Bandcamp and the labels’ website.

1. Seaweed Slowly Shifting [11:03]
2. What’s Up, Puss E Cat [11:00]
3. Rabbits & Riliriks [14:42]
4. Marina Trench [4:53]
5. Iceberg Star Chart [12:09]
6. Constant Harmony [16:25]

With invaluable contributions from Reinhard Reitzenstein whose trees are always upside down (don’t ask), this vital and eccentric release opens on the statically atmospheric, yet alluringly captivating Seaweed Slowly Shifting and the immediately evoking What’s Up, Puss E Cat, and they are in turn backed seamlessly by the organically captivating Rabbits & Riliriks, the rhythmically emotive Marina Trench, the set rounding out on the distinctively engaging Iceberg Star Chart, closing on the near seventeen minute texturally explorative opus Constant Harmony.

Musicians:
Gayle Young — Amaranth
Robert Wheeler — EML ElectroComp 101

Official Purchase Link

Official Gayle Young Website

Official Robert Wheeler Website

For those not in the know, The Plains - which was released back on October 3rd, 2025 via Redshift Records - is the result of a collaboration, and friendship, between pianist Cheryl Duvall and composer Linda Catlin Smith.

Indeed, it’s the first volume of a new set of recordings of Duvall playing Smith’s complete works for solo piano to date.

Smith’s music has been gaining accolades in recent years, including praise from international media like the Guardian, the BBC, the Wire, and Gramophone — along with a commission from the BBC Proms.

Unusually, The Plains consists of one, one-hour long work.

1. The Plains [1:07:52]

Recorded at Noble Street Studios, Toronto on December 13th, 2024, this wholly captivating, innocently alluring, and yet subsequently transfixing new work of musical art is one that may only be one length (one at over an hour at that), but does feature notable breaks within it.

Working directly with the composer, as Duvall has done here, has obviously blossomed into becoming a highly rewarding relationship in many respects, for this new recording astutely showcases how her and Smith’s singular musical prowess’s have combined to craft such an astoundingly reactive and collaborative partnership.

Indeed, Duvall has a long history with revered composer Catlin Smith and thus this simply magnificent new output is a form of due diligence for listening to for those wanting an in to just what it is that Duvall brings to the table. And with every moment here having been co-produced by her and the composer, well, you can just imagine what beautifully crafted future volumes of this series hold, my friends.

Official Purchase Link

Official Linda Catlin Smith Website

Official Cheryl Duvall Facebook Page

Legacy Recordings, the catalog division of Sony Music Entertainment, announced today a vinyl and CD release in celebration of the 50th anniversary of Patti Smith’s Horses.

The album, originally released in 1975, will be released as a 2LP and 2CD on October 10th, 2025.

This release will feature the iconic original album remastered direct from the original 1/4” master tapes, as well as previously unreleased outtakes and rarities, including Patti Smith’s 1975 RCA audition tape.

The release of Horses (50th Anniversary) will feature eight never-before-released songs, such as “Snowball” and “Birdland (Alternate Take)”, along with RCA demos. “Snowball” was the very first single made available on all streaming platforms to promote this new re-release.

Side A:
1. Gloria: In Excelsis Deo
2. Redondo Beach
3. Birdland
4. Free Money

Side B:
1. Kimberly
2. Break It Up
3. Land: Horses / Land of a Thousand Dances / La Mer(de)
4. Elegie

Side C:
1. Gloria: In Excelsis Deo (RCA Demo) *
2. Redondo Beach (Alternate Take)
3. Birdland (Alternate Take) *
4. Snowball *

Side D:
1. Kimberly (Alternate Take) *
2. Break It Up (Alternate Take) *
3. Distant Fingers *
4. The Hunter Gets Captured by The Game *
5. We Three *

*Previously unreleased

When beat poetry meets punk rock. Welcome to Horses. Simple, raw, and still awesome, I love how it merges punk/garage rock with art rock and poetry to create an album that feels both very raw and beautiful.

This most iconic album has now been lovingly remastered direct from the original 1/4” master tapes, and now also includes previously unreleased outtakes and rarities, including Patti Smith’s 1975 RCA audition tape.

Birdland is probably my favorite song here and it always hits me really hard. Her emotional delivery and the way the guitar and piano naturally get more intense is just so incredible. Gloria, Kimberly and the title track are my other favorites from here, but overall this album was, at the time, a complete game changer for both Patti and the industry.

But then there is Redondo Beach, which is a study in contrasts with dark, grim lyrics of a tale of suicide set to a whimsical early example of new wave reggae fusion. And whilst a track like Free Money is a dutiful cover of an old standards, there’s Birdland, a surrealistic epic of a grieving boy who imagines his father as an alien and wishes to join him.

Smith conjures up an ecstatic, almost gospel like fervor on the track, one that’s as uplifting as its story is to its central character. And then there’s Elegie, a most beautifully, albeit at times eerie, almost Eno-esque beguiling tribute to lost rock legends.

Patti Smith - The Hunter Gets Captured by The Game (Official Audio)

Official Purchase Links

Official Website

For those not in the know, Eclipse Music will release the collaborative album Head & Heart by Varre Vartiainen and jazz guitar legend Mike Stern on June 2nd, 2025 via Eclipse Music.

The album’s music leans heavily into the golden era of 1970s fusion jazz and is composed almost entirely by Vartiainen. However, Stern also brings a strong artistic voice to the project, contributing to a rich and cohesive whole. Expect brilliant guitar work!

Head & Heart follows Vartiainen’s critically acclaimed 2022 solo release Almost Standards.

Mike Stern (b. 1953) needs little introduction among jazz fans. Named by DownBeat magazine as one of the greatest jazz guitarists of all time, this six-string virtuoso has had a legendary career performing with Miles Davis, Billy Cobham, and Blood, Sweat & Tears.

His impressive resume also includes collaborations with the Brecker Brothers, Jaco Pastorius, Steps Ahead, and David Sanborn - not to mention his extensive solo catalog. Stern has been nominated for six Grammy Awards, won the Orville W. Gibson Award in 1997, and was voted Guitarist of the Year by Guitar Player magazine in 1993.

Varre Vartiainen plays jazz guitar with a rock attitude and is considered one of Finland’s most accomplished guitarists. In 2000, he founded the group Husband with the legendary rhythm section of Anssi Nykänen and Harri Rantanen, joined on second guitar by Marzi Nyman. The band has toured actively for over 20 years and released four albums.

Vartiainen has also performed with numerous international stars, including Angélique Kidjo, Thomas Ledin, Ed Motta, and Jim Beard, and played in prestigious ensembles such as the Espoo Big Band, UMO Helsinki Jazz Orchestra, Dallapé, Nylon Beat, and Leningrad Cowboys.

Currently completing his doctorate at the Sibelius Academy, Vartiainen is also widely known from television, having served as bandleader and guitarist for shows like The David Hasselhoff Show, Idols, and the Plan Gala.

1. Miked Up!
2. Hardly
3. Head and Heart
4. Dark Size Life
5. Waltz for Roni
6. Blue Velvet St.
7. For Mike
8. Fat Time Blues
9. Mood Swings
10. Bill From Sao Paolo

This collaborative album by the former Leningrad Cowboys guitarist and the two Stern Jazz guitar legends, opens on the buoyancy of Miked Up! and the rhythmically melodic timing of Hardly and then we get delivered the free flowing Head and Heart, the frenetically-charged Dark Size Life and the veritably translucent Waltz for Roni.

Along next on this dutiful homage to 1970s fusion is the formidable Blue Velvet St. and the languishing beauty of For Mike which are in turn backed seamlessly by the playfully scurrying Fat Time Blues, the cultured Mood Swings, the set coming to a close on an impassioned magnificence that thrives within Bill From Sao Paolo.

Musicians:
Varre Vartiainen: Guitar & Vocals
Mike Stern: Guitar & Vocals
Leni Stern: Ngoni, Vocals & (23rd St. Angel Choir)
Joonatan Rautio: Saxophone
Severi Pyysalo: Vibraphone
Visa Oscar: Keyboard
Timo Hirvonen & Juho Kivivuori: Bass
Jukkis Uotila & Jussi Lehtonen: Drums
Mongo Altonen: Percussion

Official Purchase Link

Official Varre Vartiainen Website

Varre Vartiainen @ Spotify

UMe celebrates the legacy of one of the most quietly influential bands in history, Mother Love Bone, by reissuing the Seattle, WA group’s Shine EP and seminal full-length debut Apple on September 26th, 2025.

Mother Love Bone’s sound, a unique blend of larger-than-life rock ’n’ roll and intense nascent alternative, was first introduced on the Shine EP on March 6th, 1989. This release showcased the interplay between drummer Greg Gilmore, lead guitarist Bruce Fairweather, the late legendary frontman Andrew Wood, and the tandem of guitarist Stone Gossard and bassist Jeff Ament, who would later co-found Pearl Jam.

The band’s influence on the grunge and alternative rock scenes is undeniable, and their music continues to inspire new generations of musicians and fans.

The EP also effectively set the stage for the band to deliver a classic in the form of Apple. The latter arrived on August 14th, 1990, in the wake of Wood’s untimely passing, which had occurred less than five months earlier. Despite this tragic loss, its 13 tracks stood as a testament to both the frontman’s outsized talent and the once-in-a-lifetime chemistry shared by his bandmates. The album yielded favorites such as Crown Of Thorns and This Is Shangrila, among many others. To date, it has generated tens of millions of streams.

This reissue is a testament to the enduring impact of Mother Love Bone’s music and a must-have for any serious music collector. Both Shine and Apple will be available in multiple physical configurations, including CD, standard black vinyl, or limited-edition color vinyl variants.

A limited-edition, newly remastered Japan-exclusive Mini-LP/SHM-CD that includes both the “Shine” EP, as well as the debut full-length album “Apple,” will also be available on October 10th, 2025.

The CD version of the Shine EP includes Capricorn Sister (Album Version) as a bonus track, not included on the LP. The Shine vinyl formats feature a 4-song track list repeated on both sides, and it is available in three options: a standard black vinyl, a limited-edition “Purple Haze” vinyl, and a limited-edition “Skyblue” vinyl LP.

Sides A + B:
1. Thru Fade Away
2. Mindshaker Meltdown
3. Half Ass Monkey Boy
4. Chloe Dancer / Crown Of Thorns

This brilliant, still brilliant EP - and one that is a truly remarkable reflection on the crossover of eras and the development of its protagonists’ considerable skills as songwriters - opens on the drum and guitar-tastic rocker Thru Fade Away and then they bring us the sublime alt-rock of Mindshaker Meltdown, the early Extreme-esque Half Ass Monkey Boy, the set closing on the, for the first part, low slung balladry of Chloe Dancer, the latter Crown Of Thorns a dutiful rockfest (the split duo from the Singles soundtrack of 1992).

Fully remastered for the 35th anniversary, Apple is officially being released for the first time since 1990. The CD version includes two bonus tracks not included on the vinyl format: Gentle Groove and Mr. Danny Boy.

At the same time, the vinyl formats will be available in standard black vinyl, a limited-edition “Red Alert” color vinyl, or a limited-edition “Apple Habanero” color vinyl.

Side A:
1. This is Shangrila
2. Stardog Champion
3. Holy Roller
4. Bone China
5.Come Bite The Apple

Side B:
6. Heartshine
7. Stargazer
8. Captain Hi-Top
9. Man Of Golden Words
10. Capricorn Sister
11. Crown Of Thorns

This totally excellent, vibrantly alt-rock sound opens on the throaty rhythmic rock of This is Shangrila and the jangly rocker Stardog Champion and then we get the foot to the floor Holy Roller, the ambient mid-tempo AOR of Bone China, the all-embracing melodious rock of Come Bite The Apple rounding out the first side.

In the late 80’s and early 90’s where MLB could do no wrong, along next is the drum-led beauty Heartshine and the languishing psych rocker Stargazer and they are in turn backed seamlessly by the Quireboys-imbed Captain Hi-Top, the stunning piano ballad Man Of Golden Words, the side, and therein the set coming to a close on the Aerosmith-hued Capricorn Sister and the dutiful rockfest of Crown Of Thorns.

MLB were at the very tail end of that 80’s hair metal scene, and grunge would’ve exploded regardless, and I think they’d have been left behind. I don’t think MLB would’ve had a major label recording contract much past a second album, but I treasure everything we got from them.

Speaking to Apple’s long-lasting impact, Rolling Stone asserted, Their combination of Northwest grunge and runny-mascara glam sounded like a prediction of where hair metal, just beginning its decline in 1990, could go. Ultimate Classic Rock applauded how On Apple, the quintet combined funk-metal flash, bluesy Led Zeppelin homages, glam-grunge charisma and hard rock & roll aggression while eschewing hair metal’s sleazy pomp in favor of something more soulful.

Classic Rock professed, MLB walked the thin line between cutting-edge rock and evocative echoes from the past. Plus, Pitchfork hailed it among The 25 Best Grunge Albums of the ’90s, going on to attest, Apple is nonetheless a foundational text for prophesying how the genre’s grimy guitar sound could be reengineered for arena-rattling mass appeal.

Official Shine EP Purchase Links

Official Apple Purchase Link

Mother Love Bone - The Love Bone Earth Affair [Never-before-seen footage of Mother Love Bone in concert and Interviews]

For those not in the know, author and musician Ethan Daniel Davidson has published two books, recorded 15 albums and toured throughout North America and Europe.

In 2005 he left his touring life and returned to his Detroit roots where, amongst a host of other projects, the singer-songwriter got down to doing what he loves the most: writing and creating music.

Indeed, he recently shared “Not Breaking Hearts,” the latest single from his upcoming album Lear, a companion record to Cordelia, which was released earlier this year via Blue Arrow Records.

“Not Breaking Hearts” features a lead guitar performance from Duane Betts, the son of late and legendary Allman Brothers six-stringer Dickie Betts.

Lear was also co-produced by Luther Dickinson and David Katznelson and deepens the allegorical and reflective songcraft that Davidson established on Cordelia.

Out on November 14th, 2025, Lear is a rich, legs-stretched companion to its counterpart where Davidson draws from his life’s experiences like water from a freshly tapped well. Lear’s eight songs possess a distinct ache akin to Neil Young’s On the Beach. Every lyric, a new road to be explored, and Davidson, the perfect guide to the journey.

1. Stop Breaking Down
2. Count The Knives
3. The World We Wanted
4. Bad Company Brought Me Here
5. Not Breaking Hearts
6. How Can One Keep Warm?
7. Waiting For Me
8. Goodbye

Opening this companion album on the darkly emotive, yet wholly embracing Stop Breaking Down, we next get given the impassioned Count The Knives, the rhythmical eye-opener The World We Wanted and then comes the languishing beauty within Bad Company Brought Me Here.

Along next is the melodious ditty Not Breaking Hearts which is itself backed by the more stoic, countrified balladry of How Can One Keep Warm?, the set rounding out on the unadorned blues flow of Waiting For Me, coming to a close on the low slung, harmonica-hued, lonesome journeyman appeal of Goodbye.

Not Breaking Hearts - Official Music Video

Official Apple Purchase Page

For those not in the know, how does a person in a “Cryogenic” State Dream? Why does the music of RED32 deal with the theme of “We destroyed this world and need to get to a new world ASAP”? Will you hear the answers on the new RED32 album Cryogenic Dreams?

The musical time travelers — Steve Bonino (lyrics, bass, vocals), Tony Romero (Synth, spoken word), Eric Confer (guitars), Jimmy Keegan (drums), Robeone (keyboards, synthesizers) — have combined their limitless imaginations and the equally endless Scientific ideas to ask the questions that could prevent the destruction of planet earth or save the human race in musical form.

“This album is a concept album about leaving the planet earth we rendered uninhabitable in search of a new home and our hopes to be better in the future,” says RED32’s lyricist and co-lead singer Steve Bonino.

1. Continuum
2. Outer Limits
3. Puddle Of Tears
4. Face Of Sorrow
5. After The Disaster
6. Before The Rain
7. Our Resting Place
8. Hollow Heart
9. Finding A New Home

Cryogenic Dreams, which was mastered by Peter Matuchniak and will be out on TransGlobal Records, opens on the crushingly melodic Continuum and then brings us the heavy hitting AOR of Outer Limits, the propulsive Puddle Of Tears, before the languishing, veritably slithering Face Of Sorrow is brought forth.

On what is more than just a follow up to the debut album - as it’s an exploration of how to creatively write and record music - along next is the impassioned After The Disaster which is backed by the rhythmically fluid Before The Rain, the effecting beats within Our Resting Place, the set rounding out on the measured Hollow Heart, closing on the informed prog-hued of Finding A New Home.

RED32 is:
Anthony Romero
Keys & Spoken word
Recorded at DJ Tony Studios

Steve Bonino
Bass & Vocals
Recorded at Trippyone Studios

Robert Schlindler
Synth Wizard
Recorded at Studio Robeone

Eric Confer
Guitar
Recorded at Xaoslord Studios

Very special guest drummer Jimmy Keegan
Mastered by Peter Matuchniak

Red32 - Outer Limits [Official Video]

For those not in the know, (What’s the Story) Morning Glory? [Deluxe 30th Anniversary Edition] features newly unplugged versions of five classic tracks: Cast No Shadow, Morning Glory, Wonderwall, Acquiesce and Champagne Supernova, all newly mixed by Noel Gallagher.

Available on limited edition 3LP formats, including indie exclusive Cast No Shadow inspired crystal clear 3LP. All formats will include the 2014 remastered version of the album alongside the new bonus versions.

This 3LP 30th Anniversary Deluxe Edition, Limited Edition, Black Vinyl box-set features the 2014 Remastered Version of the Original Album along with Unplugged Versions of 5 Tracks Newly Mixed by Noel Gallagher.

LP 1:
1: Hello (Remastered) 2: Roll With It (Remastered) 3: Wonderwall (Remastered) 4: Don’t Look Back in Anger (Remastered) 5: Hey Now! (Remastered) 6: [Untitled] (Remastered) 7: Bonehead’s Bank Holiday (Remastered)

LP 2:
1: Some Might Say (Remastered) 2: Cast No Shadow (Remastered) 3: She’s Electric (Remastered) 4: Morning Glory (Remastered) 5: The Swamp Song (Remastered) 6: Champagne Supernova (Remastered)

LP 3:
1: Cast No Shadow 2: Morning Glory 3: Wonderwall 4: Acquiesce 5: Champagne Supernova

After the breakthrough album Definitely Maybe (1994) all Oasis needed to do was to consolidate their signature sound, which they rather brilliantly plundered from rock history with a large dash of their Manchester wide-kid attitude thrown in for good measure.

They had stumbled upon something that captured the spirit of 90’s Britain and were starting to be embraced by mainstream media, even appearing at No. 10 Downing Street when Tony Blair was elected as figures representing British pop and music culture.

What’s the Story delivered the required product and there’s no doubt that some of the songs do take flight. The big Oasis sound was infectious and intoxicating, bursting out with ideas and noise, and unashamedly reference their heroes from classic rock.

I mean, sure, some people like super shiny, highly glossed, absolutely pristine sounding recordings which lack background noise, mistakes, and anything that gives them a semblance of grit or the rawness of a live setting. Those people aren’t Noel Gallagher. There’s a place for high sheen recordings but there’s also a place for studio cacophony run amok which results in the kind of aural chaos you hear on albums like (What’s the Story) Morning Glory?

Many producers don’t like doing too many takes of a given song because it takes away from the song’s sincerity. Overproduction and mastering a song until it loses all personality can often do the same thing.

This isn’t about Oasis but I think it’s germane to the question. Sam Philips of Sun Records fame was notorious for working very hard to get the artists on his roster (Elvis Presley, Howlin’ Wolf, etc.) to stop worrying about doing something perfectly and start to care more about the overall feel of the track. He was concerned with the mood it evoked more than whether the technical aspects were perfectly aligned.

I think Morning Glory was much like the Sam Phillips example. Not only were the band and producer not especially concerned with it being perfect, that added to the overall mastery of the work itself. Take the title track, as an example. A song about cocaine addiction seems more authentic sounding kind of dirty, a little echoey, and slightly frenetic. I suppose it’s a matter of perspective but not only do I think there’s nothing wrong with that record, I think what people constantly cite as its flaws are what add to its charm and give it character.

And thus while subsequently criticized for being formulaic and not following up, they must be given credit. Their music holds its place, albeit as a product of its time. But the energy it pulses and the space it occupies make those two albums something worth preserving.

And as for the third album of Unplugged versions of five gloriously chosen tracks, all newly mixed by Noel Gallagher, it opens on the hauntingly stoic, yet beautiful song Cast No Shadow, whilst Morning Glory gives off a hint of a High Flying Birds vibe, then comes Wonderwall - a masterpiece, plain and simple - the set rounding out on what sounds like Liam’s voice has had 10 shots of tequila on a Friday night Acquiesce, closing on the heavenly Champagne Supernova.

Oasis were an almost inevitable product of their time, but I’m not sure if they brought an album out now, here in 2025/26 that sound could ever be as lovingly replicated.

Official Purchase Page

Official Website

For those not in the know, pianist and composer SATOKO FUJII, “an improviser of rumbling intensity and generous restraint” (Giovanni Russonello, New York Times), is one of the most original voices in jazz today.

For more than 25 years, she has created a unique, personal music that spans many genres, blending jazz, contemporary classical, rock, and traditional Japanese music into an innovative synthesis instantly recognizable as hers alone.

On Burning Wick, an album where Satoko reunites her avant jazz-rock quartet and offers a wild thrill ride (and will release on November 21st, 2025), she steers her powerhouse fusion quartet - trumpeter Natsuki Tamusa, bassist Hayakawa Takeharu and drummer Tatsuya Yoshida - in new directions.

Originally founded in 2001, the ferociously energetic all-star quartet was one of her first working bands. They recorded five albums together before she put the band on hold in 2007. Reunited last year after a nearly 2-year hiatus, the band has lost none of its playfulness and daring as Satoko harnessed their unique energy for another joy ride into the unknown.

“I have more fun playing with this band than ever before,” she says. “We know each other better, we respect each other, and we enjoy the differences between our respective styles. We are not young anymore - our average age is 68 years old - but we have so much fun making music together that we feel like teenagers.”

Satoko’s compositions play an expanded role in shaping the music on Burning Wick. “For the last album, Dog Days of Summer, I ended up changing the arrangements a day before the recording in order to keep the band’s wildness,” she says. “This time, I changed almost nothing, because in rehearsals the band sounded so good playing what I wrote.”

1. Solar Orbit
2. Rain in the Wee Small Hours
3. Walking through the Border Town
4. Neverending Summer
5. Mountain Gnome
6. Three Days Later
7. Burning Wick

The all-star ensemble kick things off with the exploratory Solar Orbit and then we get brought forth the impassioned Rain in the Wee Small Hours, the quietly emotive Walking through the Border Town, a rather studious Neverending Summer, the set rounding out on the gently playful Mountain Gnome, sculpted sounds that embrace within Three Days Later, coming to a close on the emboldened, yet all-embracing Burning Wick.

www.satokofujii.com

UMe reissue three seminal albums from psychobilly pioneers The Cramps on vinyl available today. These pressings include brand new Standard Black Vinyl LP versions of Songs The Lord Taught Us, Psychedelic Jungle, and Bad Music For Bad People.

Alternately, uDiscover Music also exclusively feature limited-edition pressings of Bad Music For Bad People on a Glow-In-The-Dark LP and Psychedelic Jungle on a Fluorescent Green LP — each with a special art print.

The Cramps initially materialized in the seventies with an uncanny and undeniable psychobilly seance of garage rock, gutter punk, voodoo blues, and dusty rockabilly steeped in trashy late-night horror imagery and sinisterly subversive fashion all their own. Their debut LP, Songs The Lord Taught Us, dropped in 1980 and effectively entrenched them at the forefront of the underground as a game-changing force. Indicative of its lasting imprint on punk music and culture, it has generated over 100 million streams and counting fueled by the likes of “Fever,” “TV Set,” and “Garbageman.”

Stereogum pegged the latter at #1 on its “The 10 Best Cramps Songs,” proceeding to add, “Throughout their career, The Cramps stressed that rock ‘n’ roll was not simply a style of music, but a lifestyle. ‘Garbageman’ encapsulates the classic sex, drugs, and rock ‘n’ roll.” Meanwhile, the signature “I Was A Teenage Werewolf” has gathered north of 24.9 million Spotify streams.

Side A:
1. TV Set
2. Rock On The Moon
3. Garbageman
4. I Was A Teenage Werewolf
5. Sunglasses After Dark
6. The Mad Daddy

Side B:
1. Mystery Plane
2. Zombie Dance
3. What’s Behind The Mask
4. Strychnine
5. I’m Cramped
6. Tear It Up
7. Fever

The Cramps began as a rock band who were influenced by the Blues and in turn possibly created the genre that is now known as psychobilly. Early on they entered into CBGB’s and the early Punk scene along with Television and The Ramones.

In 1979 The Cramps released Songs the Lord Taught Us produced by Alex Chilton (Big Star). The album taught us that the band were at their very best from the very off. I mean, this entire album is dangerously raw and exciting throughout.

So yes, Songs the Lord Taught Us was the debut album by the Cramps, following their EP Gravest Hits released the previous year in 1979. In this first full length, the Cramps unleashed a sickness that the country wasn’t ready for - and, frankly, still isn’t. The album still sounds fantastic, despite the weird lyrics (full of werewolves, psycho killers, and other assorted unsavory members of society) and the extreme guitar work!

Just a year later, the group really hit their stride on Psychedelic Jungle. Recorded at A&M in Hollywood and self-produced by the band, it first landed on record store shelves in May 1981. Beyond “Green Fuzz” and “Primitive,” it housed their inescapable cover of “Goo Goo Muck”—originally by Ronnie Cook and the Gaylads. 41 years since Psychedelic Jungle released, “Goo Goo Muck” appeared during a definitive sequence of Tim Burton’s NETFLIX series Wednesday in 2022.

Giving title character Wednesday serious moves, Jenna Ortega choreographed and performed her own mega-viral dance routine to the tune, leading to a surge of activity on social media and resulting in 138 million Spotify streams on the track. Inciting tastemaker chatter, Variety noted, “Ortega made The Cramps’ menacing brand of rockabilly her own,” and Billboard christened it a “psychobilly classic.” NYLON marveled at how, “she delivers an incredible dance scene to the groovy, psychobilly tune of The Cramps’ ‘Goo Goo Muck’.”

Side A:
1. Green Fuz
2. Goo Goo Muck
3. Rockin’ Bones
4. Voodoo Idol
5. Primitive
6. Caveman
7. The Crusher

Side B:
1. Don’t Eat Stuff Off The Sidewalk
2. Can’t Find My Mind
3. Jungle Hop
4. The Natives Are Restless
5. Under The Wires
6. Beautiful Gardens
7. Green Door

Hijacking rockabilly, swamp blooze, psychedelia, and Ed Wood for their own immoral purposes, The Cramps emerged from punk’s primordial ooze in 1980. Berserk Elvis-meets-Roky Erickson screecher Lux Interior and saucy guitar goddess spouse Poison Ivy were a campy, made-in-hell tag team.

I’m a really big fan of just the fusion of garage rock and punk rock present in this album, but the inclusion of rockabilly throughout makes the listening experience feel that much more unique. Though the music never really gets too psychedelic, there do seem to be some elements of psychedelic rock mixed in, with various primal drum beats, sound and feedback effects, and even darker tones and narration reminiscent of the Los Angeles psychedelic rock and garage rock scene circa 1967.

In short, their schtick-in-trade covered kooky garage relics Green Fuz and Goo Goo Muck and likeminded originals Don’t Even Eat Stuff Off The Sidewalk and Human Fly. A maggot-infested garbage can stuffed with sick sex jokes, The Cramps provided a blueprint for future schlock-meisters The B-52’s and Southern Culture on the Skids.

Then, there’s Bad Music For Bad People. This compilation collates 11 key cuts from The Cramps on one body of work, serving as the perfect gateway into their world. It boasts “Goo Goo Muck, “Garbageman,” “TV Set,” “Uranium Rock,” and “Human Fly.”

Side A:
1. Garbageman
2. New Kind Of Kick
3. Love Me
4. I Can’t Hardly Stand It
5. She Said

Side B:
1. Goo Goo Muck
2. Save It
3. Human Fly
4. Drug Train
5. TV Set
6. Uranium Rock

Bad Music For Bad People is their 1984 compilation, widely seen as a fun but sometimes cynical collection of their earlier singles and B-sides. Reviews down the years have often described the album as a raunchy, primitive, and energetic mix of rockabilly, punk, and garage rock, driven by Lux Interior’s vocals and Poison Ivy’s guitar riffs, with a whole lot of people (including myself) highly praising its iconic artwork as a great introduction to the band, per say.

Bad Music for Bad People provides a brief, but concise overview of the group’s previously released material, specifically from Gravest Hits, Songs The Lord Taught Us, and Psychedelic Jungle. However, there are also some B-sides and rarities. Despite this compilation album’s cynical origins (many see this collection as a cash-grab by I.R.S. Records after the group left the label), it’s hard to fault what’s here.

Bad Music for Bad People is by no means definitive but it’s still a lot of fun and provides a great introduction to the band’s innovative, potent, and seminal early material.

As new generations of fans revel in the brilliantly crass catalog of The Cramps, these albums provide the ultimate soundtrack for Halloween.

For those unaware, always a real cool time, The Stooges’ primal self-titled debut changed Rock ‘n’ Roll and anticipated punk, and included both “I Wanna Be Your Dog” and “No Fun.”

You can now experience the groundbreaking 1969 Record in Definitive Sound and celebrate Elektra 75: Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set that plays with revealing liveliness, detail, and physicality [1/4” / 15 IPS analog master to DSD 256 to analog console to lathe].

Few albums inspired the reactions and registered the impact of the Stooges’ primordial self-titled debut. To a majority of listeners who encountered it shortly after it was released the same week Woodstock happened in 1969, the record seemingly came from another planet despite the fact its songs reflect the band’s Detroit surroundings and youthful malaise.

Originally deemed by Rolling Stone “loud, boring, tasteless, unimaginative and childish” — sentiments shared by many critics — only later to be included on the magazine’s 500 Greatest Albums of All Time register, The Stooges established the template for myriad styles and the snarling attitude that would be associated with the still-years-away punk scene.

Time further proved the band’s stomping, clattering rock ‘n’ roll way ahead of the curve given the work is now cited on endless “Best Album” lists.

Decades on, every moment of The Stooges remains a real cool time.

Side One:
1. 1969
2. I Wanna Be Your Dog

Side Two:
3. We Will Fall

Side Three:
4. No Fun
5. Real Cool Time

Side Four:
6. Ann
7. Not Right
8. Little Doll

Bursting out of the drug-addled Psychedelic haze of the time The Stooges’ debut took pointers from fellow musical outcasts who influenced them and molded and mangled that sound while injecting their own and opened the way to the future. Simplistic three chord punches, a tight, primal beat, manic and howling guitar solos and a crazed singer one won’t forget any time soon introduced the world to an attitude and sound that found its name a decade on.

Iggy Pop’s personality leads the pack like the natural frontman he’s always been, his primal lyrics sung ranging from a loungey croon to unhinged screams. Ron Asheton rises to the forefront with his edgy, high decibel Blues-derived playing that dips into wah-drenched frenzies and wailing feedback that soars into the stratosphere.

1969 is first out of the gates and is a down and dirty rocker propelled by a rolling and swinging drum beat, building from small fuzzy chords into full on roaring distortion. I Wanna Be Your Dog is a mid-paced stomper led forward by chiming piano while Iggy Pop (then as Iggy Stooge) begs for a chance to be what is described in the title.

We Will Fall is an eerie piece of meditative psychedelia that sprawls on for 10 minutes. No Fun is the proto-punk rocker to end all proto-punk rockers; the song replicated and covered far and wide, it’s an aggressive piece despite the clap track that laments the brutal boredom of many a teen at the time.

The remaining songs are somewhat samey (with the exception of the somewhat watery Ann and the dizzying Little Doll) but each are still fantastic examples of primitive fuzzed out rock adorned with wah-wah screeching; there is a strange primitive attraction, a directness that slows how influential the band came to be.

This incredibly beautiful MoFi vinyl edition has obviously undergone some high-end quality remastering as the sounds that now come out of my record player highlight not just Iggy’s robust vocals but each instrument’s grouping that come together to complete such a powerful whole.

The seeds of Punk, Metal, Alternative and the future of Rock had one of its most bracing and powerful beginnings with this heated powerhouse. Crank this baby to 11 and be a witness to history at full blast! Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton gatefold jacket, and reissued to celebrate Elektra 75, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set marks the first time Iggy Pop and Co.’s groundbreaking statement is available at 45RPM speed. This definitive-sounding copy benefits from the extra groove space by playing with enhanced definition, greater separation, and more realistic presence than prior versions.

The sonic characteristics that help make The Stooges unique — the welling fuzztones; the dark, wet smack of the low end; the cavernous reverb and wah-wah; the in-the-red overdrive; the vibrant handclaps; the nearly detached timbre of Pop’s vocal sneer; the grit, grime, and grind of the stacked rhythms — come across with involving clarity, liveliness, detail, and dimensionality. For all of their twisted density and savage tonality, songs project with a deep openness and large dynamic. It’s maybe as close as music has ever come to literally vibrating.

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For those unaware, a genuine Supergroup takes hold with an extraordinary blend of Vision, Verve, and Virtuosity when Emerson, Lake & Palmer lays the foundations of Progressive Rock here on their self-titled album.

Mobile Fidelity’s Numbered-Edition 180g 33RPM LP brings to light the 1970 album’s epic scope, tonal depth, and precision details quite like never before [1/4” / 15 IPS analog copy to DSD 256 to analog console to lathe].

Supergroups existed before Emerson, Lake & Palmer formed in 1970. And, as we all know well, many came after. But few, if any, matched the English trio’s chemistry and its elevated combination of virtuosity, vision, and verve. Having influenced a multitude of followers, ELP’s prowess was obvious from the start. The band’s self-titled debut stands as a towering statement of creative imagination, execution, and discipline more than five decades after its original release.

Mastered at MoFi’s California studio, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180g 33RPM LP of Emerson, Lake & Palmer presents the benchmark album in audiophile sound. Clear, dynamic, and balanced, this collectible edition honors the perfectionist approaches that both informed the playing and recording of the record.

Distinguished with black backgrounds, this reissue brings to light the epic scope, tonal depth, and mind-bending degrees of musicianship on display. Aspects — textures, nuances, effects, melodies, tempo changes — that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with pinpoint detail. Whether you’ve owned multiple copies of this touchstone or seeking out your first version, you’ll relish the presence, separation, imaging, and crispness that help make every song come across as if the group has set up shop in your listening space.

Opening the door to the seemingly infinite possibilities of progressive rock while steering clear of excess, Emerson, Lake & Palmer achieved a rare feat in that its complex, cerebral music didn’t prevent it from attaining mainstream success. The gold-certified effort launched the career of a band that would sell tens of millions of records. It also landed a Top 50 single in the form of the ballad “Lucky Man,” whose vocal harmonies, folksy strumming, multi-tracked instrumentation, and breakthrough Moog solo almost feel quaint in the face of the other fare on the album.

Side One:
1. The Barbarian
2. Take a Pebble
3. Knife-Edge

Side Two:
4. The Three Fates a. Clotho b. Lachesis c. Atropos
5. Tank
6. Lucky Man

On what is a rather stunning, if not at times wildly uneven debut from what would become a long-line of supergroups in the world of progressive music, despite its obvious flaws (to us super fans and audiophiles, in general) it opened a door in what was previously a brick wall. Combining elements of blues, jazz, classical and rock, these guys could turn on a dime. Often during the same song.

This album utilizes and condenses a lot of their stage show and was obviously produced in a rush to not only get their name out there, but to fund their soon to be extravagant equipment and tours. Indeed, Emerson borrowed freely from the classics in the Nice and does so here as well. The songs however are a bit padded with a lot of improvisation, some of which works and some that ... well, let’s say don’t at the same high level.

Sound wise there was nothing like it at the time because these guys set out blazing their own trail from the get-go. While tracks like the keyboard heavy track The Barbarian and Knife-Edge (probably the heaviest song on the album and is Emerson’s take on a piece of music from Janacek’s “Sinfonietta”) established what would quickly become the identifiable ELP sound, the standout track here is the sublime Take A Pebble (a 12+ minute epic that takes us on a ride from the main jazz/prog theme to an acoustic piece provided by Greg Lake). Obviously, a patch-work piece, they’ve cobbled it into something otherworldly here. One of their best compositions with essential contributions by all three members.

The Three Fates starts in a contrasting manner to anything else on the album; with heavier section middled by a slower one and the noodling goes on (some might say a fully formed song doesn’t ever emerge, but no one can question the versatility of the instruments at play here). Whereas The Tank is another instrumental also showcasing some drum skills, the album closing on Lucky Man, which has a Moog solo at the end.

Of course, this last-minute addition of Lucky Man would become ELP’s Nights In White Satin, with an aforementioned brilliant, impromptu first take at the end on Emerson’s new out-of-the-box Moog synthesizer that would become one of the most famous synth riffs of all time. A diamond in the rough. It’s a classic of progressive rock, and in 1970 pointed the way for a heck of a ride for the next four years. Considering where their contemporaries were at this point and this album shines even brighter.

Indeed, everything on Emerson, Lake & Palmer is there for a purpose. Whether you aim to attempt to dissect all of the notes, shifts, and polyrhythmic bluster or just want to absorb this album as one living, breathing organism, this version invites you to do both as many times as you desire.

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For those unaware, Van Halen gets loose on Diver Down; a diverse effort that includes: “(Oh) Pretty Woman,” “Dancing in the Street,” and “Where Have All the Good Times Gone!”

The definitive version of the 1982 album, and strictly limited to 7,500 numbered copies, Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP Box Set plays with extraordinary openness [1/4” / 15 IPS analog master to DSD 256 to analog console to lathe].

Van Halen’s winning track record with cover songs can be traced back to its 1978 diamond-platinum debut. The ambitious approach, which shows off the band’s diversity, creativity, flair, and fun, takes precedence like never before on Diver Down.

Featuring five covers, three of which became radio staples, the album sprung from the band’s desire to remain relevant while taking a breather after four massively successful records and their respective tours. More than four million copies later, suffice it to say Diver Down achieved its goal.

Sourced from the original analog tapes, pressed at Fidelity Record Pressing, and strictly limited to 7,500 numbered copies, Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP box set presents the 1982 album in definitive sound. All the traits you associate with hallmark Van Halen — dynamic energy, distinctive tonalities, vivid detail, sensory-invigorating immediacy, rhythmic attack, tongue-in-cheek playfulness, midrange punch, throttling intensity — emerge with involving presence and uncanny realism.

Recorded with producer Ted Templeman in just 12 days in California, Diver Down can here be experienced with unparalleled transparency, balance, definition, and, if you so choose with your volume settings, concert-like solidity, scope, and decibel levels.

Provided your system is up to the challenge, you can crank this version as high as you want without risking noise-floor interference or shrillness. Even if you listen at lower levels, the advanced degrees of separation, imaging, soundstaging, and fullness will grant you a fresh perspective on a record that began under the auspices of a one-off single.

The premium packaging of this UD1S pressing befits its collectible status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording.

Aurally and visually, this UD1S reissue is made for discerning listeners who desire to immerse themselves in everything involved with the album, from the naval-inspired cover art to the interior photos, which range from a spirited collage to a panoramic shot of Van Halen thrilling a crowd of tens of thousands in Florida.

Side One:
1. Where Have All the Good Times Gone!
2. Hang ‘Em High
3. Cathedral

Side Two:
4. Secrets
5. Intruder
6. (Oh) Pretty Woman

Side Three:
7. Dancing in the Street
8. Little Guitars (Intro)
9. Little Guitars

Side Four:
10. Big Bad Bill (Is Sweet William Now)
11. The Full Bug
12. Happy Trails

Van Halen’s success grew with each record, but somewhat stalled with 1981’s Fair Warning, the slowest selling record of the DLR era. The band had continued its heavier sound (and cover-tune-less music) from Women and Children First, and Dave and Ted made a push on the next record to add some remakes, much to Ed (and then naturally Al’s) dismay.

Track for track, IMHO, Fair Warning was a much sturdier rock album than Diver Down - at least partially, as it somewhat stalled out towards the end. If FW had been released as their final album (and thus in a much more accepting 1986 MTV chart world), had Unchained as a single and had a In a Simple Mind-type tune at the end, it’d probably would be considered their masterpiece.

But that didn’t happen, as we all well known now.

Instead, they followed that up with Diver Down, the most telling example of the division of the band’s influences from Eddie vs Dave. Fueled by the unexpected single and video they had to put together (Pretty Woman), it probably is the defining moment in the bands history that not only showed that a hard rock band (or at least THIS one) could produce a commercially successful hit (#12 - and #3 for the album), but it also put a spike in the relationship with Ed and Dave that would eventually split the band.

Now, it should be obviously noted that they had been at odds previously - that went back all the way to before he was even in the band, but this was a ragged touring group that needed a break - and they didn’t get one, and it would lead to exhausted infighting from here on out.

But I digress, for overall, Diver Down is a solid album with some crafty covers that put VH back in the charts. So what’s not to love? It starts out with a decent cover of The Kinks’ Where Have all the Good Times Gone and then erupts into Hang ‘Em High; which, to me, is one of the greatest achievements Ed and Al Van Halen ever created. It’s a track where both Dave and Michael play a big part in this - the former with his growling intro over acoustic guitar and his harmonica on the solo, the latter with his background vocals on the chorus reminding us of what makes this band so special in the first place.

They follow that up with a sharp left turn instrumental in the form of Cathedral which leads into Secrets, a highly underrated DLR era gem that is completely different than anything the band had done previously. It could’ve been a hit single from 1984, trust me.

After Intruder we get (Oh) Pretty Woman, a track that is played to this very day on various genre-related radio stations across the globe, before we are gifted the brilliantly pop-tastic Dancing In The Streets. They back that up with another instrumental, this one a worthy entry in Ed’s instrumental career, the cool riffs that accompany Little Guitars.

Big Bad (Is Sweet William Now) almost doesn’t belong here, just because of the type of circus this record already is, but hey, they do it anyway and it’s such a great song that, well, how can you NOT like it. The molten hot a rock track Full Bug is then backed by the set closer, a one minute countrified harmonizing session by the guys, Happy Trails.

Having peaked at No. 3 and spent more than a year on the charts, Diver Down also includes atomic-punk fury (“Hang ‘Em High”), gentle tranquility (“Secrets”), and a stripped-down jaunt through the old jazz ditty “Big Bad Bill (Is Sweet William Now)” complete with a guest contribution from the Van Halens’ father, Jan, on clarinet.

With the album title and artwork aptly hinted that something was happening underneath the plain visibility of the surface — while simultaneously serving as a sexual double entendre — Diver Down remains the band’s most overlooked and surprise-filled platter. One that the original marketing campaign saliently noted finds the band’s “temperature up.” Happy trails, indeed.

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Mobile Fidelity Sound Lab’s UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called “converts”) are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity’s UD1S process produces a final LP with the lowest-possible noise floor.

The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

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For those not in the know, Prince’s seventh studio album, and the second to be credited to Prince and the Revolution, Around The World In A Day, was released on April 22nd, 1985. Featuring no fewer than four singles, Around The World In A Day saw Prince and the Revolution change musical direction yet again, experimenting with psychedelic textures, incorporating new instrumentation, and expanding the genres of songs within the album.

With audio newly remastered by original mastering engineer Bernie Grundman, with additional mastering by Chris James, the Around The World In A Day Deluxe Edition includes the original album plus two extra discs of bonus material.

The B-Sides & Bonus Tracks discs include the extended versions of the A & B sides including the remix of Paisley Park, the extended version of Girl and Hello (Fresh Dance Mix), the nearly 22-minute 12 version of America, and two versions of the 1985 song, 4 The Tears In Your Eyes.

Side A Around The World In A Day (2025 Remaster):
1. Around The World In A Day
2. Paisley Park
3. Condition Of The Heart
4. Raspberry Beret
5. Tamborine

Side B:
6. America
7. Pop Life
8. The Ladder
9. Temptation

Side C B-Sides & Bonus Tracks (2025 Remaster):
1. Raspberry Beret (New Mix) (a.k.a. Extended Remix)
2. She’s Always In My Hair (New Mix)
3. Paisley Park (Remix)

Side D B-Sides & Bonus Tracks (2025 Remaster):
4. Pop Life (Fresh Dance Mix)
5. Pop Life (Extended Version)

Side E B-Sides & Bonus Tracks (2025 Remaster):
6. Hello (Fresh Dance Mix)
7. Girl (12” Version)
8. 4 The Tears In Your Eyes (We Are The World Album Version)
9. 4 The Tears In Your Eyes (The Hits/The B-Sides Version)

Side F B-Sides & Bonus Tracks (2025 Remaster):
10. America (12” Version)

Oh boy, the Purple One really threw the expectant music world a generous curveball after the mammoth breakaway success of Purple Rain when he brought forth this psych dream beauty. Though not as immaculate as its predecessor, Around The World In A Day is most assuredly an underrated gem that showcases Prince maturing and expanding his artistic palette; and in some bravo style at that.

In one of the last real contributions from the backing band The Revolution, we see a blend of musical influences pop up throughout the record; guitarwork reminiscent of the paisley underground movement of the time (it’s said that Prince was a huge fan of this movement and named his studio after it) middle-eastern percussion, flute, cello, et al; all under the sweeping flavor of 60’s psychedelic pop - the result being one of the freshest records put out by a popular musician who could have easily cashed in on his formula from 1984.

The songwriting is top-notch, for Paisley Park is psychedelic goodness all round, Tamborine is a stripped down funk track that sounds like a crazier predecessor to Sign O’ The Times (the track, not the album) and Condition of the Heart is balladry that ranks up there with The Beautiful Ones, in my humble opinion.

Then you have the monster singles, such as Pop Life, which is an orchestral, yet bitingly concise recalling of idleness at the heights of fame, features some amazing backup work from The Revolution and the delirious swirly Raspberry Beret - which I think is one of the 10 best songs he penned; an endlessly hummable recounting of infatuation on very modest terms as far as Prince is concerned.

For the record, the B-Side of that 7” single contained arguably Prince’s most interesting track, She’s Always In My Hair, which is now included here amongst the 2LP’s of B-Sides and Bonus Tracks. Getting back on track and for my personal taste, The Ladder is just plain weird, but endlessly listenable, with the only so-called flaw on this album being the closer Temptation, which relies too much on the grander and bombastic side of things, and sounds like it would be more fitting on a compilation than alongside the four minute pop punches that Prince was dishing out here overall.

Overall, a challenging and downright offbeat collection of pop songs that are, at its worst, danceable and demanding, and at its best, absolutely knocked-out-the-park brilliant. And now that it comes with a whole host of aforementioned B-Sides and Bonus Tracks - such as A trippy Raspberry Beret (New Mix) (a.k.a. Extended Remix), a vibrantly upbeat Pop Life (Fresh Dance Mix), and an underrated Girl (12” Version) - this album is as complete as it could ever have hoped to be.

Psych-lollies, anyone?

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Official Website

For those not in the know, full of heart, intimacy, and searing depth, Marina — the new album by acclaimed Russian-born saxophonist and composer Lena Bloch — reimagines the poetry of Marina Tsvetaeva, one of the 20th century’s most original literary voices.

Out November 14, 2025, on Fresh Sound Records, the album features Bloch’s ensemble with Kyoko Kitamura(voice), Jacob Sacks (piano), Ken Filiano (bass), and Michael Sarin (drums).

Commissioned in 2022 through a Chamber Music America grant, Marina sets Bloch’s own English translations of Tsvetaeva’s poems in a suite for voice and ensemble. The project transforms Tsvetaeva’s emotional and intellectual intensity into a sound world that blurs the lines between word and tone, composition and improvisation.

1. I Refuse [8:26]
2. Insomnia [7:33]
3. Marina [7:44]
4. Such Tenderness [8:27]
5. Tired [8:13]
6. Immeasurable [9:30]
7. The Time Will Come [5:37]

As one of the first jazz artists to interpret Tsvetaeva’s poetry through music, Bloch opens the set on the hauntingly ethereal I Refuse and the smoothly resilient Insomnia and then we get brought forth the emotive title track Marina, some dulcet wind orchestrations that guide us through Such Tenderness and the low slung, late night club ambiance of Tired, the recording rounding out on the impassioned Immeasurable, coming to a close on the resoundingly stirring The Time Will Come.

Line-up/Musicians:
Lena Bloch (tenor & soprano saxophones)
Kyoko Kitamura (vocals)
Jacob Sacks (piano)
Ken Filiano (bass)
Michael Sarin (drums)

Official Website

For those not in the know, Southern California-based roots-rock band Jason Heath and the Greedy Souls is set to release its new album, Earth Fire Water Airborne via Small Recordings on November 14th, 2025.

Full of unabashed emotionality and another helping of the unapologetic verve that has defined the balance of the band’s career, Heah and his fellow Greedy Souls come across as primal, raw and, well, elemental as can be on the dozen tracks that make up the new album.

“The songs were written and recorded during the pandemic lockdown and were, in some ways, just an attempt to process the moral, political and spiritual challenges that we were facing individually and collectively,” says Heath. “I just tried to be as honest as I could be in the writing and production without getting caught up in the hype of it all. I feel like we were successful ... at least I hope so.”

Earlier releases organically aligned with the burgeoning Americana movement, but more recently, Heath and company felt a reset of sorts in order for capturing the character of the sonic template they wanted to enact for Earth Fire Water Airborne.

The trajectory of the anthemic fist-pumper Children, Chains and Razorwire and the skinny-tie vibes of 6 More Miles in turn connect with the acoustic throes of Your Disease and Pieces of Your Heart, the touching duet that closes the album.

In short, Earth Fire Water Airborne shares powerful DNA with the timeless nature of our most cherished rock records - but not just because the late, great MC5 guitarist and longtime friends Wayne Kramer contributed his final performance to the title track.

“My biggest influences have always been artists like Bruce Springsteen, Tom Petty and Bob Dylan, so I went after more of a roots-rock approach this time,” explains Health. “We also got inspiration from other kinds of music we’ve always liked, whether its Pink Floyd, U2, Radiohead, or newer stuff like The War on Drugs.”

1. Earth Fire Water Airborne
2. Children, Chains and Razorwire
3. Can’t Get You Outta my Head
4. A Perfect Sound (Don’t be Afraid)
5. The Night the Sun Burned Out
6. Your Disease
7. 6 More Miles
8. Something to Hide
9. Here Comes Love (She Don’t Lie)
10. Wake Up Famous
11. Thunder Above Fire Below
12. Pieces of Your Heart

Chock full of their usual level of unabashed musicianship combined with an emotionality unapologetic vein that pulsates throughout each and every track, the new recording opens on the barn storming rocker Earth Fire Water Airborne (featuring MC5 great Wayne Kramer) and the throaty, low slung, yet grooved rock of Children, Chains and Razorwire and then we get the free flowingly rhythmic Can’t Get You Outta my Head, the jangling guitar work of A Perfect Sound (Don’t be Afraid), and both the Coldplay-esque The Night the Sun Burned Out and a gently hued ache that drives Your Disease.

Up next for the LA-based roots-rock band is the propellent troubadour-fueled 6 More Miles and the affectingly melodious Something to Hide, and they are in turn backed by the Counting Crows-imbibed Here Comes Love (She Don’t Lie), the old school rock ’n’ roll sounds of Wake Up Famous, the album rounding out on the soaring mid-tempo balladry of Thunder Above Fire Below, coming to an all-too-soon close on the truly emotive ballad Pieces of Your Heart.

Official Website

For those not in the know, after a series of acclaimed releases showcasing his previously unrevealed virtuosity on the piano, Mark Sherman makes a triumphant comeback to the vibraphone on Bop Contest, his 22nd recording as a leader.

Out November 7th, 2025 via his own Miles High Records, Bop Contest lives up to the competitive spirit of its title with Sherman in fighting form as he once again wields the mallets, backed by an unbeatable all-star team of musicians specially assembled for the occasion: pianist Donald Vega, drummer Carl Allen, guest trumpeter Joe Magnarelli, and the band’s MVP, the iconic bassist Ron Carter.

Arriving on the heels of four well-received albums as a pianist, Sherman offers a reminder of why he spent more than a decade ranked among the top vibraphonists in the world on the annual DownBeat Critics Poll, and why he has spent a huge part of his career as an accompanist of choice for such legends as Peggy Lee, Lena Horne and Larry Coryell and a collaborator with greats including Wynton Marsalis, Kenny Barron and Joe Lovano.

But perhaps it would suffice to point out that Sherman didn’t have to jump through hoops to enlist the most revered bass player in jazz for his latest release – it was Ron Carter’s teasing entreaty that opened the way for the invite. Sherman has worked with his share of gifted bassists over the course of his four-and-a-half decade recording career, including the mighty Ray Drummond.

Carter, a colleague of Sherman’s on the faculty of the Juilliard School, noted that fact and took playful umbrage. “We’ve taught and sat on juries together,” Sherman recalls. “One day Ron asked me, ‘How come you never use me on bass?’ I knew that I had to take him up on that offer, and finally the time arrived.”

1. 111-44
2. Love Always Always Love
3. Bremond’s Blues
4. My One And Only Love
5. Bop Contest
6. Martha’s Prize
7. Skylark

Knowing that the language of jazz is a lifelong pursuit, demanding years of patience, study and immersion to achieve the authenticity that defines the genre, this new recording opens on Oliver Nelson’s simply scintillating 111-44 and then brings us the sophisticatedly decadent, palindromic Love Always Always Love, Cedar Walton’s demurely cloaked, yet fervently effective Bremond’s Blues and the luxurious standard My One And Only Love, before we are graced with the triumphantly stanched Bop Contest, the set rounding out on Walton’s robust Martha’s Prize, coming to a close on a languishing beauty found within Hoagy Carmichael’s Skylark.

Official Website

For those unaware, the Jimi Hendrix Bold As Love just-released box-sets offer a premium collector experience in a 4CD + Blu-ray package or 5LP + Blu-ray package. Each set features 27 previously unreleased recordings from 1967, including demos and alternate takes, as well as television and radio performances.

This deluxe edition includes the stereo and mono mixes for the Axis: Bold As Love album, all newly remastered by Bernie Grundman from the original flat master tapes. Both stereo and mono mixes are included in high-resolution 24bit/96kHz audio, as well as a newly created, immersive Dolby Atmos mix by Eddie Kramer and Chandler Harrod.

A 36-page booklet rounds out the offering in some impressive style, filled with rare photos, detailed liner notes, and track-by-track insights. This release is ideal for Hendrix fans and vinyl enthusiasts looking for a definitive archival edition of one of Hendrix’s most iconic albums.

In my humble opinion, although I should profess that I am indeed a HUGE Jimi fans, Bold As Love, the second studio album by The Jimi Hendrix Experience, is a masterpiece that easily solidifies Hendrix’s status as one of the greatest guitarists of all time. Released in 1967, the album not only showcases Hendrix’s incredible talent, but his innovative songwriting, and his ability to push the boundaries of rock music.

From the very first notes of EXP, the album grabs the listeners’ attention and takes them on a psychedelic journey. Hendrix’s guitar playing is truly mesmerizing, as he effortlessly blends blues, jazz, and rock influences into his own unique sound. Songs like Spanish Castle Magic and Bold As Love excellently demonstrate his technical skill and command of the instrument, showcasing his ability to create both powerful, energetic riffs and delicate, melodic passages.

Indeed, what sets Bold As Love apart from other albums of its time is its exceptional songwriting. Tracks like Little Wing and If 6 Was 9 showcase Hendrix’s ability to convey deep emotion through his lyrics and guitar playing. The album also features strong vocal performances from Hendrix, as he effortlessly transitions from soulful crooning to powerful wailing, further adding to the emotional depth of the songs.

As for the production on Bold As Love, well that is also very notable, especially now we have been gifted the album in its many forms here in this delicious 5LP box-set. With psychedelic sound effects, lush harmonies, and intricate arrangements that create a rich and immersive listening experience, those and more have been intricately enhanced now for the listener to sit back, kick back, and drift off into a musical landscape that just doesn’t exist any more.

The album seamlessly flows from one track to another, as if each song is a chapter in a larger narrative. It is clear that Hendrix had a clear vision for this album and executed it flawlessly. A noted timeless classic by its peers and associated press both, even today listening to these brand new vinyl editions it still continues to captivate me, to propel me into a colorful hazy mist of yesteryear, albeit on thar even I am aware is only temporary.

I mean, come on now, Hendrix’s incredible guitar playing, his innovative songwriting, and his ability to evoke intense emotions are all on full display, making this album a must-listen and must-have for any fan of music. It is a testament to his genius, and, once again, it rightfully solidifies his legacy as one of the greatest musicians of all time.

LP 1: Bold As Love (ORIGINAL STEREO MIX)
SIDE A
1. EXP 2. Up From The Skies 3. Spanish Castle Magic 4. Wait Until Tomorrow 5. Ain’t No Telling 6. Little Wing 7. If 6 Was 9

SIDE B
8. You Got Me Floatin’ 9. Castles Made Of Sand 10. She’s So Fine 11. One Rainy Wish 12. Little Miss Lover 13. Bold As Love

LP 2: Bold As Love (ORIGINAL MONO MIX)
SIDE C
1. EXP 2. Up From The Skies 3. Spanish Castle Magic 4. Wait Until Tomorrow 5. Ain’t No Telling 6. Little Wing 7. If 6 Was 9

SIDE D
8. You Got Me Floatin’ 9. Castles Made Of Sand 10. She’s So Fine 11. One Rainy Wish 12. Little Miss Lover 13. Bold As Love

The other three LPs included here are a wondrous collection of different takes and live cuts and is a brilliant inclusion to have within this massive box-set. Stand outs from the first LP is the propellent look over yonder opener Mr. Bad Luck [Take 6], a stripped down version of Burning Of The Midnight Lamp [Take 30], the foot to the floor Ain’t No Telling [Demo], and most definitely my favorite version of Little Miss Lover [Demo].

LP 3:
SIDE E
1. Mr. Bad Luck [Take 6] 2. She’s So Fine [Take 4] 3. Burning Of The Midnight Lamp [Take 30] 4. The Stars That Play With Laughing Sam’s Dice [Paramount Studios] 5. Burning Of The Midnight Lamp [Instrumental] 6. The Stars That Play With Laughing Sam’s Dice [Instrumental]

SIDE F
7. Stone Free/Up From The Skies [Demo] 8. Up From The Skies [Take 2] 9. Ain’t No Telling [Demo] 10. Ain’t No Telling [Take 12] 11. Little Miss Lover [Demo] 12. One Rainy Wish [Take 1] 13. You Got Me Floatin’ [Take 1] 14. Untitled Guitar Experiment 15. Castles Made Of Sand [Take 16]

The next LP features the vintage story pop of Spanish Castle Magic [Take 2] and a beautiful Little Wing [Take 2] (it’s just so damn amazing how different each take was, like Jimi had an endless stream of ideas coming out of him) and then other stand outs on this fourth vinyl include both the funkily grooved Wait Until Tomorrow [Take 14] and the cosmically beautiful, albeit trippy Castles Made Of Sand [Backwards Guitar].

LP 4:
SIDE G
1. Bold As Love [Take 19] 2. Wait Until Tomorrow [Take 2] 3. Spanish Castle Magic [Take 2] 4. Little Wing [Take 2] 5. Untitled Instrumental #1 [Take 3] 6. Untitled Instrumental #2 [Take 1]

SIDE H
7. Little Miss Lover [Alternate Version] 8. Spanish Castle Magic [Take 4] 9. Wait Until Tomorrow [Take 14] 10. Castles Made Of Sand [Backwards Guitar] 11. One Rainy Wish [Alternate Version] 12. Burning Of The Midnight Lamp [Original Mono Mix] 13. The Stars That Play With Laughing Sam’s Dice [Original Mono Mix]

The fifth and final vinyl LP in the set includes an on fire, psych rock treat in the form of Sgt. Pepper’s Lonely Hearts Club Band [Sweden 9/5/67] and a stunningly ambient, deeply beautiful The Wind Cries Mary [Sweden 9/5/67], along with a guitar rampant Purple Haze [Sweden 9/5/67], the other stand out being the folk-pop-rock of Burning Of The Midnight Lamp [Top Of The Pops] (which actually opens on a whole other track that Jimi didn’t know the words to and that the presenter called a “slight technical glitch”!)

LP 5:
SIDE I
1. Sgt. Pepper’s Lonely Hearts Club Band [Sweden 9/5/67] 2. Fire [Sweden 9/5/67] 3. The Wind Cries Mary [Sweden 9/5/67] 4. Foxey Lady [Sweden 9/5/67] 5. Hey Joe [Sweden 9/5/67] 6. I Don’t Live Today [Sweden 9/5/67]

SIDE J
7. Burning of The Midnight Lamp [Sweden 9/5/67] 8. Purple Haze [Sweden 9/5/67] 9. Burning Of The Midnight Lamp [Dee Time] 10. Purple Haze [Hoepla] 11. Foxey Lady [Hoepla] 12. Burning Of The Midnight Lamp [Top Of The Pops]

Blu-ray:
Original album in Dolby Atmos
Original album in Mono
Original album in Stereo

Official Purchase Link

www.JimiHendrix.com

For those not in the know, it should come as no surprise to see the VSQ (Vitamin String Quartet) reimagine fifteen of 9-time Grammy Award winner Billie Eilish’s most intriguing tracks.

Their string rendition of “bad guy” remains one of their most streamed tracks on Spotify and last year, and thus they turned her latest single, “LUNCH,” into a classical crossover magic for VSQ Performs The Hits of 2024.

And while “BIRDS OF A FEATHER” was climbing to the most streamed song of 2024 on Spotify, they were busy celebrating the alt-pop superstar’s musical prowess, VSQ-style, in preparation for a full-length album.

The result is VSQ Performs Billie Eilish, which features a diverse set of Eilish’s songs arranged for strings, from “ocean eyes” — the one that started it all — to three tracks off of her latest album, Hit Me Hard and Soft.

1. you should see me in a crown
2. bad guy
3. Therefore I Am
4. BIRDS OF A FEATHER
5. everything i wanted
6. lovely
7. CHIHIRO
8. LUNCH
9. bury a friend
10. No Time To Die
11. ocean eyes
12. idontwannabeyouanymore
13. when the party’s over
14. Happier Than Ever
15. What Was I Made For?

Chock full of their usual level of unabashed musicianship combined with an emotionality unapologetic vein that pulsates throughout each and every track, the new recording opens on the stoically embracing you should see me in a crown and a playfully flirtatious bad guy and then we get brought forth a regally elegant Therefore I Am, a sumptuously laid bare BIRDS OF A FEATHER, the forlorn, yet emotive everything i wanted and both the veritably ethereal lovely and the impishly sculpted CHIHIRO.

Up next is one of my own personal favorite Eilish cuts, which the VSQ do a brilliantly free flowing homage here to, the all-embracing LUNCH which is itself backed by the creepingly creepy bury a friend, the delicately hued James Bond theme No Time To Die, and then comes the quietly aloof, yet gradually building ocean eyes, the decadent ballroom swirls and twirls of idontwannabeyouanymore, the set rounding out on a stirring when the party’s over, a contained, yet noticeably playful ebb to Happier Than Ever, coming to a close on the touching notes brought to bear within What Was I Made For?

“you should see me in a crown” - VSQ Performs Billie Eilish (Live Performance)

Spotify Album Purchase

2026 North American + EU / U.K. Tour Dates:
1/29 - Joliet, IL - Rialto Theatre
1/30 - Iowa City, IA - Englert Theatre
2/1 - Cheyenne, WY - The Lincoln
2/3 - Sheridan, WY - WYO Theater
2/4 - Missoula, MT - The Wilma
2/5 - Spokane, WA - Fox Theatre
2/6 - Vancouver, BC - Vogue Theatre
2/7 - Seattle, WA - Moore Theatre
2/9 - Butte, MT - Mother Lode Theatre
2/10 - Kalispell, MT - Wachholz College Center (McClaren Hall)
2/12 - Salem, OR - Elsinore Theatre
2/13 - Medford, OR - Craterian Theater at the Collier Center for the Performing Arts
2/14 - Menlo Park, CA - The Guild Theatre
2/15 - Carmel, CA - Sunset Center Theater
2/17 - San Diego, CA - Jacobs Music Center 2/19 - Riverside, CA - Fox Performing Arts Center
2/20 - Mesa, AZ - Mesa Arts Center
2/21 - Tucson, AZ - Fox Tucson Theatre
2/23 - Colorado Springs, CO - Pikes Peak Center
2/24 - Denver, CO - Paramount Theatre
2/26 - Omaha, NE - Steelhouse Omaha
2/28 - Salina, KS - The Stiefel Theatre
3/1 - Oklahoma City, OK - Tower Theatre
3/3 - Houston, TX - Jones Hall for the Performing Arts
3/4 - Austin, TX - Paramount Theatre
3/5 - Tyler, TX - UT Tyler Cowan Center
3/6 - Dallas, TX - Majestic Theatre
3/8 - San Antonio, TX - Tobin Center for the Performing Arts (HEB Performance Hall)
3/10 - Kansas City, MO - Uptown Theater
3/11 - St. Louis, MO - The Sheldon (Concert Hall)
3/12 - Effingham, IL - Effingham Performance Center
3/16 - Coventry, UK - Warwick Arts Centre
3/18 - Belfast, UK - The Limelight
3/20 - Edinburgh, UK - The Queen’s Hall
3/22 - Sunderland, UK - The Fire Station
3/23 - Manchester, UK - The Bridgewater Hall
3/24 - Basingstoke, UK - The Anvil
3/25 - Swansea, UK - Grand Theatre
3/27 - York, UK - Grand Opera House
3/28 - Derby, UK - Derby Cathedral
3/29 - London, UK - The Barbican

For those not in the know, The Flying Horse Big Band is the premier performing ensemble of the University of Central Florida’s jazz studies program, directed by saxophonist Jeff Rupert.

The student band, originally known as the UCF Jazz Ensemble 1, was renamed in 2013 and has released several acclaimed albums that have appeared on national jazz charts, with some reaching number one.

They have performed at major jazz festivals and have featured numerous guest artists, including Randy Brecker, George Garzone, and Kevin Mahogany.

The band has released multiple albums, including Jazz Town (2011), The Blues is Alright (2012), and A Message from the Flying Horse Big Band (2023). Several albums have reached the top of national jazz radio airplay charts, such as The Bat Swings and Good News.

And now we are gifted a brand new album from them entitled Unbridled and this one also features George Garzone on four tracks that push the envelope of big band jazz and jazz improvisation.

Garzone is a founder of Boston-based trio The Fringe, the longest running jazz group in history, and he brings swinging avant-garde flair to the Flying Horse Big Band.

1. Giant Steps (04:36)
2. Pharoah’s Daughter (08:05)
3. Chasin’ Tail (04:04)
4. Reflections (04:36)
5. It Gets Better (05:08)
6. View of Heaven (06:09)
7. Impressions (04:47)

On an album where each and every track is just pure musical enjoyment, up first is the spirited, veritably cinematic fare of Giant Steps and the luxuriantly Eastern flavored Pharoah’s Daughter, and then we get the furtively gainful Chasin’ Tail, the sheer decadence of Reflections, the warmly comforting It Gets Better, the set rounding out on the emphatically driven confidence of View of Heaven, coming to a close on the skittish beauty of Impressions.

For those not in the know, Paul Hannah has been playing professionally since the age of sixteen. Growing up in Las Vegas, NV, he had the honor of learning his craft from the legendary drummers and percussionists of Vegas – Jerry Gilgor, Tommy Check, Leo Camera, Roger Rampton, Walfredo de los Reyes, Mark Barnett, John Abraham, Howard Agster and others.

Later attending the New England Conservatory of Music as a student of Vic Firth and attaining the Artist’s Diploma from the Hartt School of Music and Alexander Lepak, Paul also studied drums with Alan Dawson and master NYC session percussionist Dave Carey.

Immediately after graduating from Hartt, Paul began touring with Broadway show tours of Sondhiem’s “Into the Woods” closely followed by Andrew Lloyd Webber’s "Cats”. He freelanced for years in CT and NY and performed for every type of gig there is – from symphonic percussion to small group and big band jazz, bar bands, club dates, pops concerts, rock and roll, country, funk/R&B/blues as both drummer and percussionist.

For the last twenty years, he has worked primarily as a drummer/percussionist for Broadway touring productions all over the USA, Canada, Japan and China.

Highlights include “West Side Story” in Tokyo, “Jesus Christ Superstar” with Ted Neeley and Corey Glover, “Wicked”, “An American in Paris” and “Spamalot”. Paul also records with his jazz trio, fusion band, solo percussion works, various Neo-Soul/R&B projects and his own big band.

His brand new album is entitled Last Train Home and is a beautiful trio album featuring his long time musical brothers, Sam Kurzontkowski on bass and Grant Osborne on piano and chromatic harmonica.

The interplay and creative ideas are strong and unique. You can tell where they come from and they all sound like themselves. If you like beautifully played and crafted improvisational music and look for unique and talented musicians to be creating it, look no further than here on Last Train Home.

1. Blackbird
2. Close Enough For Love
3. Chega de Saudade
4. Goin’ Home
5. Liberty City
6. Little Waltz
7. Last Train Home
8. Lawns
9. Old Folks

The Atlanta-based percussive artist/drummer/percussionist/composer/arranger/producer opens his incredible new set on the emotively pleasing Blackbird and the sparkling Close Enough For Love and then we are brought forth the dulcet, harmonica-driven fare of Chega de Saudade and the gently impassioned elegance of Goin’ Home.

Along next is the upbeat and celebratory feel to Liberty City and that is in turn backed seamlessly by the low slung foot-tapping, finger-snapping rhythms of Little Waltz, the soft shuffle of Last Train Home, the recording rounding out on the all-embracing Lawns, coming to close on the soft dancefloor swirls and twirls within the most gracious of moods found in Old Folks

Paul Hannah - Last Train Home (Official Album Visualizer)

Official Website

For those unaware, Rock and Roll Hall of Fame® Inductees and Kennedy Center honorees, KISS, celebrate five decades of their seminal third full-length album, Dressed To Kill, with a robust 50th Anniversary Deluxe Edition available now via UMe.

It arrives in multiple configurations: Super Deluxe 5CD + Blu-ray Audio, Super Deluxe 8LP + Blu-ray Audio, Premium Color Vinyl, Super Deluxe Digital, and a Deluxe Picture Disc Vinyl (available November 21st, 2025). Dressed To Kill has been newly remastered in HRA 192/24, HRA 96/24, or 44.1/16, and Atmos.

Dressed To Kill celebrates 50 years with a specially tailored Super Deluxe 5-CD + Blu-ray Audio box rocking 107 total tracks with 78 unreleased tracks. The original album is newly remastered by Bernie Grundman from the 1975 stereo analog master tapes on CD 1. CD 2 showcases 23 demos, alternate mixes and instrumental outtakes from the Larrabee Sound and Electric Lady Studios sessions including the unreleased tracks “Mistake” and “Burning Up With Fever.”

The Blu-ray Audio disc features Dressed To Kill newly mixed by David Frangioni from the original multi-track analog tapes in Dolby Atmos and 5.1 Surround along with the newly remastered 1975 stereo mix in 192kHz 24-bit and 96kHz 24-bit PCM stereo, plus two 1975 promo videos for “C’mon And Love Me” and “Rock And Roll All Nite” newly transferred from the 16mm film reel in HD.

Dressed To Kill Since 1975 T-Shirt features iconic album cover and KISS logo screen printed on front with track list on back.

CD ONE: DRESSED TO KILL (REMASTERED)
1. Room Service 2. Two Timer 3. Ladies In Waiting 4. Getaway 5. Rock Bottom 6. C’mon And Love Me 7. Anything For My Baby 8. She 9. Love Her All I Can 10. Rock And Roll All Nite

One of My favorite KISS albums, due to its straightforward rock n’ roll - vibe. The sound is a little thin, to my ears, but the consistent song quality makes it a winner, nonetheless.

At the time it was made, Kiss and Casablanca were in such dire financial straits that they couldn’t afford to hire a producer, so Bogart hired himself to produce the record. However, by all accounts I’ve read, he really didn’t have much to do with the actual production, other than periodically sticking his head into the control room, giving a thumbs up and a sounds good between bong rips. The band very much produced DTK themselves, which may make it the purest Kiss album out of them all.

Room Service is easily one of the best tracks here. Uplifting tempo, catchy chorus, great riffing, nice bassline and Two Timer is yet another good track, but it doesn’t stand out on this album as much as some of the others do. Nice bassline though. Ladies In Waiting is a mediocre song, where the solo is the highlight, Getaway is another straight rocker, and it’s a good one at that and also comes complete with a solid singing performance by Peter, on this Ace-penned track.

Rock Bottom is where Ace truly shines on the intro and overall the work is a very beautiful piece of music. The song in and unto itself is almost shorter than a Napalm Death track, but it works fine with the intro. C’Mon and Love Me is one of my favorite tracks on the album, and one of my all-time favorites by the band, in general. The riff, the vocal melodies, backup harmonies, the small solo snippets between chorus and verse, the main solo, the cleverly placed hi-hat snap. Pure perfection.

Anything For My Baby is a track where I always sit back and admire the drumming during the chorus, as well as the riff and the verses, but there’s something about this song that makes me not appreciate it as much as I used to. Age, I guess. Now, She has a superb slow and groovy riff and has begged for a metal band to cover it for years now! I mean, sure, Anthrax did it some justice on the Kiss My Ass-compilation but I’m talking an 80’s hair metal band. Wow, now that would have rawked! A great bassline during the chorus means that the tracks wouldn’t have sounded out of place on the debut. I find myself missing the solo break from the live version instead of the final chorus though but hey, again, that’s just me.

Love Her All I Can is another track covered by Anthrax (which they did masterfully), and it’s one of my other favorites too. I mean, it has friggin’ cowbell, so what more could you want from a song? I like the double vocals in the verses also, the riffing is good, and there is a rather mighty excellent solo. Peter’s drumming is great here too and then we get the overplayed, yet ultimate KISS classic Rock and Roll All Nite.

Beyond the songs I will say that the album cover is one of the most iconic KISS photos of all time. A major step in the right direction for the band after the poor outcome of the album covers on their first two attempts.

CD TWO: DEMOS, ALTERNATE MIXES AND INSTRUMENTAL OUTTAKES*
1. Mistake (Studio Demo) 2. Rock And Roll All Nite (Studio Demo) 3. Anything For My Baby (Studio Demo) 4. Burning Up With Fever (Studio Demo) 5. Rock And Roll All Nite (Studio Demo – Party Version) 6. Rock And Roll All Nite (Studio Demo – Alternate Vocal Take) 7. Room Service (Extended Outtake) 8. Two Timer (Alternate Mix) 9. Ladies In Waiting (Alternate Ending) 10. C’mon And Love Me (Alternate Mix) 11. Anything For My Baby (Alternate Mix) 12. Love Her All I Can (Alternate Mix) 13. Two Timer (Extended Alternate Mix) 14. Anything For My Baby (Extended Alternate Mix) 15. Rock And Roll All Nite (Super-Fast Outtake) 16. Room Service (Instrumental Outtake) 17. Two Timer (Instrumental Outtake) 18. Getaway (Instrumental Outtake) 19. Rock Bottom (Instrumental Outtake) 20. Anything For My Baby (Instrumental Extended Outtake) 21. She (Instrumental Extended Outtake) 22. Love Her All I Can (Instrumental Outtake) 23. Rock And Roll All Nite (Instrumental Outtake)

CD THREE: LIVE IN DETROIT, MICHIGAN – COBO ARENA – MAY 16, 1975*
1. Rock Bottom 2. Strutter 3. Nothin’ To Lose 4. Two Timer 5. Let Me Know 6. Got To Choose 7. She 8. Ace Frehley Guitar Solo 9. Parasite 10. Cold Gin

CD FOUR: LIVE IN DETROIT, MICHIGAN – COBO ARENA – MAY 16, 1975*
1. 100,000 Years 2. Peter Criss Drum Solo / 100,000 Years 3. Let Me Go, Rock N’ Roll 4. C’mon And Love Me 5. Firehouse 6. Deuce 7. Rock And Roll All Nite 8. Black Diamond

CD FIVE: LIVE IN DAVENPORT, IOWA – RKO ORPHEUM THEATRE – JULY 20, 1975 – FIRST SHOW*
1. Deuce 2. Strutter 3. Got To Choose 4. Hotter Than Hell 5. Firehouse 6. She 7. Ace Frehley Guitar Solo 8. Nothin’ To Lose 9. C’mon And Love Me 10. 100,000 years 11. Peter Criss Drum Solo / 100,000 Years 12. Black Diamond 13. Cold Gin 14. Rock And Roll All Nite

DISC SIX: BLU-RAY AUDIO – DRESSED TO KILL
[Dolby Atmos* / Dolby True HD 5.1* / 192kHz 24-bit & 96kHz 24-bit PCM Stereo]
1. Room Service 2. Two Timer 3. Ladies In Waiting 4. Getaway 5. Rock Bottom 6. C’mon And Love Me 7. Anything For My Baby 8. She 9. Love Her All I Can 10. Rock And Roll All Nite

BONUS VIDEOS*
[48kHz 24-bit PCM Stereo Only]
1. Rock And Roll All Nite (1975 Promo Video)
2. C’mon And Love Me (1975 Promo Video)

The Super Deluxe explodes further with an extensive array of bonus kollectibles including:

• 100-page Hardcover Book with extensive liner notes by Ken Sharp featuring new interviews from Paul Stanley, Gene Simmons and many notable Dressed To Kill-era KISS team members plus tons of unreleased photos and rare imagery.
• Dressed To Kill 1975 Press Kit featuring
o Band Bio
o Three Black & White Publicity Photos, each 8”x10”
o 5-inch Cover Sticker
o Marketing Slick Sheet
o T-Shirt Iron-On
o New Band Poster 20”x30”
o Dressed To Kill Gold Promo Poster 20”x30”
o Japan Print Ad 7.5”x11”
o Cobo Arena Concert Poster 20”x25”
o Cobo Arena Concert Tier A Ticket Stub
o Spring Tour ’75 Backstage Pass
o Long Beach Arena Concert Backstage Pass
• Four Live Color Glossy Photos, each 9”x12”
• Dressed To Kill Die-Cut Magnet Sheet
• Four Band Member Double-Sided Coasters
• Embossed Metal New York License Plate
• Hotel Key Fob
• Album Cover Lenticular
• Dressed To Kill Bumper Sticker
• Die-Cut Double-Sided Mobile
• 1975 Creem KISS Komix Litho
• Gotham Rock City News Volume 3 Newspaper – Track-by-Track interviews with Gene, Paul, Peter & Ace along with a Cobo Arena interview with Eddie Kramer after newly mixing the concert he recorded in 1975
• Two Iron-On Patches
• Four Prism Foil Buttons
• Four White-Pearled Guitar Picks

Official Purchase Links

The Greek duo of lyra player Sokratis Sinopoulos and pianist Yann Keerim’s first studio statement is a deep well of inspired musical dialogues that cross the idiomatic space between European folk tradition and chamber-jazz seamlessly.

Bartók’s six “Romanian Folk Dances” appear in newly shaped guises throughout the album, with Sokratis’s painterly lyra playing setting a lyrical counterpoint against Yann’s in turns rhythmically propulsive and quietly thoughtful accompaniment.

This is the first time the duo is heard distilled from Sokratis’s acclaimed quartet (albums Eight Winds and Metamodal) and their conversations interlock gracefully, always responsive to one another and with a keen sense of space and atmosphere.

Their own duo elaborations join the Bartók studies unnoticeably, as everything becomes connected by the pair’s fluid expression.

1. Vlachia [02:21]
2. Valley [03:25]
3. In One Spot [05:21]
4. Sash Dance [05:09]
5. Dance from Buscum [06:43]
6. Romanian Polka [04:52]
7. Fast Dance [08:47]
8. Mountain Path [02:13]
9. Forest Glade [05:19]
10. Stick Dance [07:43]

Recorded in Athens, in February 2024, and produced by Manfred Eicher, this Topos is where tradition meets the present and thus opens on an aching yearn that threads throughout the emotive Vlachia and then we are presented the sweeping elegance of Valley, the veritably shimmering In One Spot, the harmonically-hued Sash Dance and the stirring Dance from Buscum.

Along next is the rhythmically upbeat Romanian Polka and the gently smoldering Fast Dance and they are in turned backed seamlessly by the emboldened Mountain Path, the pensive, yet inquisitively reaching Forest Glade, the set rounding out on an affective stillness within Stick Dance.

Official Purchase Link

www.sokratissinopoulos.com

www.yann-keerim.com

Guitarist John Scofield and bassist Dave Holland, two of jazz’s contemporary masters, have played together over the years in contexts including projects with Herbie Hancock and Joe Henderson and a spirited co-led band with Joe Lovano and Al Foster.

Memories of Home is their first duo album, made at NRS Studios, in Catskill, New York, last year, after extensive touring activity. John Scofield: “The record, like our live shows, features tunes each of us composed, some new, some old. We share decades of common references musically. The similarities and differences in our approaches make for a more interesting collaboration, I think.”

1. Icons at the Fair [06:20]
2. Meant to Be [06:31]
3. Mine Are Blues [05:37]
4. Memorette [06:10]
5. Mr. B (Dedicated to Ray Brown) [05:52]
6. Not for Nothin’ [05:56]
7. Easy for You [08:10]
8. You I Love [04:52]
9. Memories of Home [05:28]

Recorded at NRS Studios in Catskill, New York, in August 2024, the album opens on the beguiling Icons at the Fair (itself inspired by Herbie Hancock’s arrangement of “Scarborough Fair”) and then we get the laid law, languishing beauty of the Scofield classic Meant to Be, the rhythmically melodious Mine Are Blues and the quietly emotive Memorette.

Along next is the effectively genuine Mr. B (Dedicated to Ray Brown), which is dedicated to Holland’s first double bass hero, which is in turn backed by the joyfully upbeat, yet still veined with a certain stillness Not for Nothin’, the poignant ballad Easy for You, the set rounding out on the melodiously free-flowing You I Love, closing on the simply sumptuous Memories of Home.

Official Purchase Link

www.johnscofield.com

www.daveholland.com

Bassist Mauricio Morales and Pianist Adam Hersh, Who are redefining the creative Jazz scene in L.A., collaborate on Between Dreams & Twilight, an exposition of intricate Modern Jazz composition.

Bassist Mauricio Morales remembers meeting pianist Adam Hersh at a show at the Continental Club in downtown Los Angeles. Afterward, Morales needed to get home somehow. “That’s one of the benefits of not having a car,” he jokes, for Hersh gave him a ride that night, asking Morales as they drove away, “Have you heard this record by Wayne Shorter called High Life?”

They became fast friends, matching the rate at which their careers have risen among an increasingly crowded constellation of artists who are redefining the creative jazz scene in L.A. They are launching toward the apex with their first shared collaboration, this just-released Between Dreams & Twilight which features nine pieces between the two of them; three written by Morales, three by Hersh and three co-written by both.

The album also demonstrates the duo’s brilliant musicianship, gleaming in the company of their exemplary bandmates: vibraphonist Warren Wolf, guitarist Mike Moreno and drummer Gary Novak, along with the L.A.-based Rogue Lemon String Quartet.

1. Eurybia
2. Reminiscence
3. Low Life
4. Cosmic River
5. Poem To The Red Leaf
6. Sand From a Broken Hourglass
7. Where The Olive Trees Wither
8. Velos De Tormenta
9. Retratos De Vida Interrumpida

Complementing each other smoothly here from start to finish, from top bottom, they open on the gloriously sumptuous Eurybia (named evocatively for the daughter of Pontus and Gaia, god and goddess of the sea and earth in Greek mythology) and then we get brought forth the melodically themed Reminiscence, their enigmatically impassioned homage to Hersh’s guiding light, Wayne Shorter, Low Life, and then comes the spaciously sonic Cosmic River (named after the astronomical term for celestial phenomena).

Along next is the blustery, gleefully spirited Poem To The Red Leaf (which is about a mystery in a video game Morales enjoyed playing) which is itself backed seamlessly by a stirringly ornate Sand From a Broken Hourglass, the elegantly sculpted Where The Olive Trees Wither, the set rounding out on a masterfully honed Velos De Tormenta (Spanish for “Veil of Storms”), coming to a close on a most glorious tribute to Morales’ uncle who passed, the emotive Retratos De Vida Interrumpida (which translates to “Portraits of a Life Interrupted”).

Mauricio Morales @ Facebook

www.adamhershmusic.com

For those unaware, in the spring of 1983, a newly conceived version of the James Newton Quartet appeared on the European jazz scene. After four decades, producer Stephan Meyner contacted James Newton. They realized that, unfortunately, the quartet had never released a recording. This changed when he unearthed a 1983 recording of the quartet from Willisau in Switzerland.

A few months before the tour, James Newton had heard about a fantastic young pianist, composer and scholar from Detroit who was completing her master’s degree in ethnomusicology at the University of Pittsburgh - Geri Allen.

The members of the James Newton Quartet for this European tour included Geri Allen on piano, Anthony Cox on bass and Andrew Cyrille on drums. The recording from Willisau is one of the first recordings in Geri Allen’s long, historic and outstanding career.

Bassist, composer and bandleader Anthony Cox has immense, highly virtuosic mastery of his instrument, plays with great sensitivity, contributes to every nuance of the ensemble with incredible technical skill and responds to it with confidence, switching skillfully and fluently between different styles.

Andrew Cyrille is one of the most respected drummers jazz has ever produced. His ensembles and compositions have contributed greatly to the tradition he embodies. He is known for his enthusiastic collaborations with modernists such as David Murray, Muhal Richard Abrams, Mal Waldron, Horace Tapscott, Peter Brötzmann and Oliver Lake.

The recording’s repertoire includes Charles Mingus’ loving tribute to Charles Christopher Parker, Reincarnation of a Lovebirds, Geri Allen’s masterpiece The Printmakers, and two originals by James Newton: Forever Charles, dedicated to Mingus, and Pinkie Below, the nickname given to his then young son James III by one of his uncles because he was the youngest grandson in the family and was born with light skin.

1. Reincarnation of a Lovebird
2. Pinkie Below
3. Forever Charles
4. The Printmakers

Complementing each other smoothly here from start to finish, from top bottom, they open on the scintillating, yet stabilized and cultured Reincarnation of a Lovebird before bringing us the veritably effervescent, decadently smooth Pinkie Below, then we get gifted the upbeat and joyful Forever Charles, the four song set culminating on the forthright, almost melodiously emboldened The Printmakers.

Official Purchase Link

Ain’t nothing more powerful than love - O’DESSA, an epic rock opera written and directed by Geremy Jasper, is about a farm girl who embarks on an epic quest to recover a cherished family heirloom in the post-apocalyptic future.

Her journey soon leads her to a strange and dangerous city where she meets her one true love. However, in order to save his soul, she must put the power of destiny and music to the ultimate test.

Starring Sadie Sink, Kelvin Harrison Jr., Murray Bartlett, and Regina Hall, the films soundtrack - featuring 13 original songs written by Geremy Jasper and Jason Binnick - is now available on violet vinyl via Walt Disney Records.

Side A:
1. Here Comes the Seventh Son
2. Ramblin’ Down the Road
3. The Song (Love Is All)
4. Johnny Fame - performed by Kelvin Harrison, Jr.
5. Under the Stars
6. Feelin’ Free

Side B:
1. Cursed Six Strings - Performed by Bree Elrod
2. Ramblin’ Blues
3. Onederworld - Performed by Murray Bartlett and Emily Forsythe
4. Yer Tha One
5. Strangerland [Bonus Track]
6. Plazma Rose [Bonus Track]
7. O’Dessa’s Theme (Here Comes the Seventh Son Reprise) - Performed by Geremy Jasper and Jason Binnick

Personally, and now having watched the movie and listened to this glorious soundtrack vinyl twice over, I found it to be a strange and beautiful love story; one that I can easily see becoming a cult classic. The music was phenomenal and Sadie’s vocals are top notch perfect for those haunting ballads. And all set upon the background of a post-apocalyptic sci-fi 80’s vibe worked for me too as it made an interesting atmosphere for the two lost souls to find each other.

Putting the vinyl on the turntable, Side A opens on the throbbing muscle of Here Comes the Seventh Son, the folk-hued Ramblin’ Down the Road and the soft rocker The Song (Love Is All), before we are then treated to the ethereally-strewn Johnny Fame (from Kelvin Harrison, Jr.), the beautiful ballad Under the Stars, the delicate Feelin’ Free bringing the side to a close.

Flipping the color vinyl over, Side B opens on the folk-prog storytelling of Cursed Six Strings (from Bree Elrod, Pokey LaFarge and Sink), the elegant ballad Ramblin’ Blues and synth-crafted Onederworld (from Murray Bartlett and Emily Forsythe), which are in turn backed seamlessly by the lapidarian Yer Tha One, the robust Strangerland and the emboldened Plazma Rose, coming to a close on the shimmering wonderment that comes together within O’Dessa’s Theme (Here Comes the Seventh Son Reprise) (by Geremy Jasper, Jason Binnick and Sink).

Official Trailer

Official Purchase Link

Walt Disney Records presents Phineas and Ferb: Holiday Favorites on a translucent emerald green vinyl, featuring songs from and inspired by the hit Disney TV series.

For those unknowing, Phineas and Ferb Holiday Favorites is a children’s Christmas album, starring the characters from Phineas and Ferb and was originally released on September 21st, 2010. It features the songs from the special Phineas and Ferb Christmas Vacation!, plus versions of classic Christmas songs sung by the characters.

Side A:
1. Winter Vacation (From Phineas and Ferb) - Performed by Bowling For Soup
2. What Does He Want? (From Phineas and Ferb) - Performed by Candace
3. That Christmas Feeling (From Phineas and Ferb) - Performed by Olivia Olson
4. I Really Don’t Hate Christmas (From Phineas and Ferb) - Performed by Dr. Doofenshmirtz
5. Where Did We Go Wrong? (From Phineas and Ferb)
6. Danville for Niceness (From Phineas and Ferb)
7. Christmas Is Starting Now (From Phineas and Ferb) - Performed by Big Bad Voodoo Daddy
8. Thank You Santa (From Phineas and Ferb) - Performed by Mitchel Musso
9. The Twelve Days of Christmas (From Phineas and Ferb)

Side B:
1. Good King Wenceslas (From Phineas and Ferb) - Performed by Baljeet and Buford
2. Frosty the Snowman (Recorded as Perry Saves Christmas) (From Phineas and Ferb) - Performed by Major Monogram and Carl the Intern
3. Let it Snow, Let it Snow, Let it Snow (From Phineas and Ferb) - Performed by Isabella
4. Run Rudolph Run (From Phineas and Ferb) - Performed by Phineas
5. The Christmas Song (Chestnuts Roasting on an Open Fire) (From Phineas and Ferb) - Performed by Vanessa
6. Santa Claus is Comin’ to Town (From Phineas and Ferb) - Performed by Love Händel
7. We Wish You a Merry Christmas (From Phineas and Ferb)

For anyone who hasn’t heard of this album - that was originally released back in 2010 - it contains all of their best known songs, including ones from their Christmas Vacation special (including the What Does He Want song which wasn’t on the original special’s soundtrack) as well as a bunch of covers and rewritten versions of some traditional Christmas songs (three of which would later appear on A Phineas and Ferb Family Christmas).

Putting the vinyl on the turntable, Side A opens on Winter Vacation (performed by Bowling For Soup), a track that I think is made even cooler due to the fact that they redid the intro song for the Christmas Vacation special. It kinda feels like a self-parody now and that works in its favor. Then we get What Does He Want? (performed by Candace) which was the first, but unfortunately not the last of Candace songs to be cut due to time. Thankfully in the extended version of the special this song was included, so Candace at least got compensation this one time!

Up next is That Christmas Feeling (performed by Olivia Olson) and for me it is a really solid original Christmas song. First of all, we have Olivia singing which already scores major points, but the lyrics to this song are so festive and fits the holiday spirit very well. Then comes I Really Don’t Hate Christmas (performed by Dr. Doofenshmirtz) where, in truth, when you compare Doofenshmirtz singing My Goody Two-Shoes Brother from the first season to him singing this song it’s a night and day improvement!

Up next is Where Did We Go Wrong? which for those of us know only really works within the context of the original special because it much more of a downer song the characters to sing as they feel defeated at that moment and that is backed by Danville for Niceness, a track that works fine when watching the special and I’m glad they included it on the album, but it’s still a middle of the road Phineas and Ferb song, in general.

The side rounds out on Christmas Is Starting Now (performed by Big Bad Voodoo Daddy) and being a sucker for big band jazz music this song does not disappoint! Big Bad Voodoo Daddy does a phenomenal job bringing this song to life with great instrumentation and good ol’ holly jolly singing and it is backed by Thank You Santa (performed by Mitchel Musso) which gives you the warm fuzzies after watching the Christmas special, closing on one of the tracks made specifically for the album; and we’re definitely starting on a high note with the brilliant The Twelve Days of Christmas.

Flipping the color vinyl over, Side B opens on the Good King Wenceslas (performed by Baljeet and Buford) and which here, and out of all the rewritten songs on the album, genuinely feels like it is the black sheep of this collection. Unlike the others this one mostly relies on its character interaction and dialogue rather than carrying out a beat. It ends up feeling more like a comedy bit rather than a song, which to each their own, of course. Then we get Frosty the Snowman (performed by Major Monogram and Carl the Intern) which, fun fact, is the only full song Major Monogram sings. All the other times Monogram sings in the show it’s always a short gag. The lyrics are just ridiculous, Doofenshmirtz crashes Santa’s sleigh and Perry helps Santa save Christmas like it’s just so silly I can’t but laugh at it!

Up next is Let it Snow, Let it Snow, Let it Snow (performed by Isabella). Now, since this and the next few songs are covers there’s not as much to talk about as the other songs, but I’m just gonna cut to the chase with this one and say that I absolutely love this cover. Isabella’s sweet voice is the perfect choice for this song and Alyson Stoner knocks it out of the park with her singing. Then comes Run Rudolph Run (performed by Phineas) where Phineas’s singing is pretty good; but the true star of this song is the backing track. You gotta give mad props to Danny Jacob because the use of guitars and drums in this song are just amazing.

The side then rounds out on The Christmas Song (Chestnuts Roasting on an Open Fire) (performed by Vanessa) where, well, I mean, what other character would be better to sing this song than Vanessa? As I alluded to in That Christmas Feeling re: Olivia Olson, Vanessa is a phenomenal singer and this song is no exception, a spirited, albeit too sort rendition of Santa Claus is Comin’ to Town (performed by Love Händel), closing the collection on a track where Phineas and Ferb put their own spin on a song to make it different from other versions, the fun-packed We Wish You a Merry Christmas.

Official Purchase Link

On translucent “Galactic Blue” vinyl, this collectible 7” single features “The Fantastic Four: First Steps Main Theme” by Michael Giacchino (Up, Ratatouille, Coco) and “Let Us Be Devoured” written and performed by Andrea Datzman (Inside Out 2).

Set against the vibrant backdrop of a 1960s-inspired, retro-futuristic world, Marvel Studios’ “The Fantastic Four: First Steps” introduces Marvel’s First Family — Reed Richards/Mister Fantastic, Sue Storm/Invisible Woman, Johnny Storm/Human Torch and Ben Grimm/The Thing as they face their most daunting challenge yet.

Side A:
1. The Fantastic Four: First Steps Main Theme by Michael Giacchino

Side B:
2. Let Us Be Devoured written and performed by Andrea Datzman

For anyone who hasn’t heard of this film, The Fantastic Four: First Steps brings us a movie experience where Mister Fantastic, Invisible Woman, Human Torch and the Thing face their most daunting challenge yet as they defend Earth from Galactus and Silver Surfer.

Putting this translucent “Galactic Blue” 7” vinyl single on the turntable, Side A is the triumphantly charged The Fantastic Four: First Steps Main Theme by Michael Giacchino. Starting off cautiously, it gradually builds to a towering crescendo of strength and determination.

Flipping the color vinyl over, Side B features a sweetly sounding, folk-hued, acoustically imbibed ending credits track from Andrea Datzman entitled Let Us Be Devoured.

Official The Fantastic Four: First Steps Main Theme by Michael Giacchino

Official Purchase Link

It’s solid gold! Relive Freya Skye’s show stopping moment from the sold-out Descendants/Zombies: Worlds Collide arena tour with an exclusive 7" Gold Vinyl of “Gold’s Gone.”

The single features the tour version as well as the original version. Freya’s “Gold’s Gone” single is a must-have - get it before it’s gone!

For those unaware, Freya Skye is a British singer, songwriter, and actress known for her role as Nova in the Disney movie Zombies 4: Dawn of the Vampires and for representing the United Kingdom at the Junior Eurovision Song Contest 2022.

Side A:
1. “Gold’s Gone” (Descendants/Zombies: Worlds Collide Tour Version)

Side B:
2. “Gold’s Gone”

The song “Gold’s Gone” is a brilliant piece of pop fun, brought to us by a young lady whose confidence is soaring and who is in full command of her vocal talents.

I mean, come on now, Freya is just 15 years-old and is already beloved by droves of fans of her music and rightfully so. Realizing her dream from the very beginning, it is catchy pop-tastic songs like this one that will cement her timeline within the music business with every release.

Freya Skye - “Gold’s Gone” (Descendants/Zombies: Worlds Collide Tour Version)

Official Purchase Link

GRAMMY® Award-winning Rock & Roll Hall of Fame® Inductees and iconic New Jersey R&B group Kool & The Gang unveil their new Greatest Hits collection via Island, Mercury Records, and Universal Music Enterprises (UMe). It notably stands out as the band’s first new vinyl release in decades.

Greatest Hits is pressed on a limited-edition 1LP platinum ice vinyl as a special online exclusive as well as black 1LP vinyl and 1CD.

Assembling a definitive sampling of smashes, the group serve up a “Kool Dozen” of signature staples and generational anthems. The album flaunts everything from funky gems such as “Jungle Boogie,” “Ladies Night,” “Celebration,” and “Get Down On It” to the soulful “Cherish” and more. Greatest Hits features a compelling and extensive historical essay penned by one of the band’s closest confidants.

In July, Kool & The Gang dropped the Kool Summer EP, collecting 6 brand new Official Remixes of various classics from their catalog by the likes of Young Franco, DJ Crazy, Prince Hakim Bell, and more.

1. Hollywood Swinging
2. Jungle Boogie
3. Misled
4. Ladies Night
5. Open Sesame – Pt. 1
6. Summer Madness
7. Celebration
8. Get Down On It
9. Too Hot
10. Fresh
11. Joanna
12. Cherish

Boasting an incomparable discography, the band’s impact remains unprecedented and this newly correlated collection opens on a funky jam that was a born automatic banger Hollywood Swinging and one of the funkiest, most badass songs in the history of funk Jungle Boogie and then we get the 80’s synth and guitar beauty Misled, an anthem for women everywhere within Ladies Night, the R&B and soul combo of Open Sesame – Pt. 1, before we are brought forth on of the greatest instrumentals ever created Summer Madness.

Along next is the timeless, endlessly happy tune Celebration and the smooth jam Get Down On It and they are in turn backed seamlessly by the steamy soulful R&B (complete with wicked sax solo) Too Hot, their tribute to life and happiness within the dancefloor smash Fresh, the set rounding out on the soulfully beautiful Joanna, closing on their eternal love song for living the life we live within Cherish.

Kool & The Gang have continued to make waves throughout culture. Last year, they were officially inducted into the Rock & Roll Hall of Fame® as part of the “Class of 2024,” delivering a showstopping performance during the annual ceremony as well. Meanwhile, they dropped their most recent album, People Just Wanna Have Fun, back in 2023 to acclaim from Billboard, Rolling Stone, and many more.

They’re currently in the midst of a global tour, which sees them crisscross Europe and canvas the United States and Canada.

Gazelle is back! Return to Zootopia with the 7-inch single featuring “Zoo,” performed by Shakira, from Disney’s Zootopia 2. Available on purple translucent glitter vinyl, both sides feature “Zoo,” with music and lyrics by Ed Sheeran & Blake Slatkin and Shakira.

For those unaware, Shakira is a globally renowned Colombian singer, songwriter, dancer, and philanthropist, who is widely known for her unique fusion of Latin, pop, and rock music and signature belly dancing moves.

Her career began in Latin America and expanded to international fame in the early 2000s, but beyond music, she is recognized for her humanitarian work and has also ventured into acting and coaching on television shows.

Side A:
1. “Zoo”

Side B:
2. “Zoo”

Featuring the unmistakable vocals of Shakira, “Zoo” is an honest piece of soulfully fun, catchy as all heck music, and one that kids of all ages will be dancing to from the very first moment they hear it, of that you can be sure.

Towards the end, Shakira even breaks into her native language for a few bars and that just adds another level of gravitas to the track, in my humble opinion.

All in all, complete with Latino lines and her signature flavor, Shakira’s “Zoo” track is a stunningly unique, infectiously danceable song that showcases the fact that as much as we all need motivation and perseverance, we should never lose sight of the fact that love and emotional connections are important also.

Shakira - “Zoo” from Zootopia 2 [Official Music Video]

Official Purchase Link

For those not in the know, Prior Convictions presents a fresh chapter in Alcatrazz’s legacy, bringing together newly re-recorded versions of nine 1980s-era classics alongside two brand-new compositions, Transylvanian Requiem and Stand And Wait Your Turn.

The album delivers a powerful mix of tradition and modern intensity, showcasing the band’s enduring impact on heavy metal. Founding members Jimmy Waldo (keyboards) and Gary Shea (bass) continue the legacy they launched in 1983, while guitar virtuoso Joe Shredlord Stump adds his trademark neo-classical firepower.

Frontman Giles Lavery (Warlord/Jack Starr/Dragonsclaw) honors the band’s history while proving himself a commanding vocalist in the Alcatrazz lineage. The result is a record that bridges past and present with fierce conviction.

1. Transylvanian Requiem
2. Stand And Wait Your Turn
3. Jet To Jet
4. Starr Carr Lane
5. Hiroshima Mon Amour
6. Island In The Sun
7. Too Young To Die, Too Drunk To Live
8. God Blessed Video
9. Skyfire
10. General Hospital
11. Kree Nakoorie

This explosive new metal rock n roll album opens on the Asian-hued guitar supreme Transylvanian Requiem and the melodic rocker Stand And Wait Your Turn, and then we get the feisty, throaty Jet To Jet, the formidable Starr Carr Lane and some rock storytelling within the emboldened Hiroshima Mon Amour.

Along next is the midtempo rhythmical pop-rock beauty Island In The Sun and the guitar driven rocker Too Young To Die, Too Drunk To Live, which are in turn backed seamlessly by the frenetically charged God Blessed Video, the Maiden-esque Skyfire, the set rounding out on the fist-pumper General Hospital, closing on the keyboard launching pad for the soaring guitar rock of Kree Nakoorie.

www.alcatrazzofficial.com

For those not in the know, Strings Attached: The Complete Orchestral Collection is a sprawling FIVE-disc journey that showcases Berlin’s full orchestral sessions in all their glory.

Featuring live strings, re-imagined arrangements, rare recordings, and alternate takes, this box set transforms their synth-pop classics into expansive, elegant symphonic works.

It’s a definitive, immersive experience designed for devoted fans and newcomers alike.

Disc 1:
1. Take Your Turn (Orchestral Version) 2. The Metro (Orchestral Version) 3. No More Words (Orchestral Version) 4. Take My Breath Away (Orchestral Version) 5. Masquerade (Orchestral Version) 6. Now It’s My Turn (Orchestral Version) 7. Sex (I’m A...) (Orchestral Version) 8. On My Knees (Orchestral Version) 9. Like Flames (Orchestral Version) 10 Will I Ever Understand You (Orchestral Version) 11. You Don’t Know (Orchestral Version) 12. Hideaway (Orchestral Version)

This incredibly stunning 5-CD box set opens on a slew of greatest hits done as wondrous Orchestral versions, and which begins with the formidable Take Your Turn, the catchy and upbeat The Metro and the new wave phenomenon No More Words, and they are followed by the nostalgic masterpiece Take My Breath Away, the driving beat of Masquerade and the well-developed Now It’s My Turn.

Along next is their kinkiest song ever Sex (I’m A...), the emboldened balladry of On My Knees, and my favorite Berlin song ever Like Flames, and they are in turn backed by the absolute banger Will I Ever Understand You, the mid-tempo hymn of a love song You Don’t Know, coming to a close on a song where within the original it showcased Terri’s tremendous range to perfection, Hideaway.

Disc 2:
1. Take Your Turn 2. The Metro (Orchestra & Vocal Version) 3. No More Words (Orchestra & Vocal Version) 4. Take My Breath Away (Orchestra & Vocal Version) 5. Masquerade (Orchestra & Vocal Version) 6. Now It’s My Turn (Orchestra & Vocal Version) 7. Sex (I’m A...) (Orchestra & Vocal Version) 8. On My Knees (Orchestra & Vocal Version) 9. Like Flames (Orchestra & Vocal Version) 10. Will I Ever Understand You (Orchestra & Vocal Version) 11. You Don’t Know (Orchestra & Vocal Version) 12. Hideaway (Orchestra & Vocal Version)

The second disc is chock floor to ceiling with Orchestra and Vocal versions of all their songs and boy, are they fantastically rearranged for string arrangements.

Stand outs here for me, although they are all a refreshing remix of their known classics, are No More Words, Now It’s My Turn, Sex (I’m A...), and both Like Flames and You Don’t Know.

Disc 3:
1. The Metro (Orchestra & Cello Version) 2. No More Words (Orchestra & Cello Version) 3. Take My Breath Away (Orchestra & Cello Version) 4. Masquerade (Orchestra Only Version) 5. Now It’s My Turn (Orchestra, Harp & Celesta Version) 6. Sex (I’m A...) (Orchestra Only Version) 7. On My Knees (Orchestra And Piano Version) 8. Like Flames (Orchestra & Piano Version) 9. Will I Ever Understand You (Orchestra & Glockenspiel Version) 10. You Don’t Know (Orchestra Only Version) 11. Hideaway (Orchestra & Cello Version)

The third disc takes the songs to a whole other symphonic level, this time by rearranging all the hits in an Orchestra and Cello version, Orchestra and Piano, Orchestra only versions, and even and Orchestra and Glockenspiel version, amongst others.

Stand outs here for me, although there a just so many, are refreshing orchestral mixes of The Metro, Masquerade, On My Knees, and both Will I Ever Understand You and Hideaway.

Disc 4:
1. Like Flames (Outtake Reinterpretation) 2. You Don’t Know (Soda Pimps Rework) 3. Take My Breath Away (The Ambient Metaphor Prelude Version) 4. No More Words (Limoux Remix) 5. The Metro (Extended Instrumental Remix) 6. Take Your Turn (Evening Tide Remix) 7. Will I Ever Understand You (Hot Hot Hawk Remix) 8. Masquerade (Orchestral Instrumental) 9. Sex (I’m A...) (Domestic Technology Remix) 10. On My Knees (Orchestral Instrumental) 11. Hideaway (Chillhawk Vocal Remix)

The fourth disc has a lot of remixes, some pretty darn good, some dutifully good, and a couple that seem to be extended for no good reason. But overall, the 11 tracks make for a great afternoon’s listening when let loose in the CD player.

Stand outs here for me, although there are more hit remixes here than not, are You Don’t Know (Soda Pimps Rework), No More Words (Limoux Remix), Will I Ever Understand You (Hot Hot Hawk Remix) and both Masquerade (Orchestral Instrumental) and a wickedly brilliant Sex (I’m A...) (Domestic Technology Remix).

Disc 5:
1. Now It’s My Turn (Orchestral Version) 2. Now It’s My Turn (Orchestral Extended Version) 3. Now It’s My Turn (Demis Lazer Remix) 4. Now It’s My Turn (Orchestral Instrumental) 5. Now It’s My Turn (Orchestra Only Version) 6. Now It’s My Turn (Orchestral Extended Instrumental) 7. On My Knees (Domestic Technology Chilled Remix)

The fifth and final disc is basically an EP showcasing various versions done in both Orchestral ways and as a Remix of Now It’s My Turn. The song really shows off the power of Terri’s voice. A song from back in 1984, I can still remember being impressed by how effortless her singing sounded back then.

Official Purchase Link

www.berlinpage.com

For those not in the know, String Theory: The Complete Orchestral Anthology is an expansive FIVE-disc collection that breathes new cinematic life into A Flock Of Seagulls’ greatest tracks.

Featuring full symphonic arrangements, rare recordings, and alternate versions, this incredible box set offers a deep dive into the lush, sophisticated reinterpretation of classics like Space Age Love Song, I Ran and Rainfall.

Indeed, it beautifully bridges the band’s iconic past with a bold, orchestral future, celebrating the timeless strength of their songwriting.

Disc 1:
1. Loves Overture 2. Say You Love Me (Orchestral Version) 3. Messages (Orchestral Version) 4. Never Again (The Dancer) (Orchestral Version) 5. Remember David (Orchestral Version) 6. Hearts On Fire (Orchestral Version) 7. The Story Of A Young Heart (Orchestral Version) 8. What You Said, What You Meant (Orchestral Version) 9. Living In Heaven (Orchestral Version) 10. What Am I Supposed To Do (Orchestral Version) 11. Rainfall (Orchestral Version)

This incredibly stunning 5-CD box set opens on a slew of greatest hits all done as Orchestral versions, and which begins with a short, yet stirring Loves Overture and then brings us the powerfully melancholic Say You Love Me, the pulsating Messages, the hook-tastic Never Again (The Dancer), and a track that has had new life brought back to it here, the forthright Remember David.

Along next is another flashback to that glorious 80’s sound on Hearts On Fire and the easy listening, heavy hitting The Story Of A Young Heart, and they are in turn backed by the soaring What You Said, What You Meant, the pulsing beats of Living In Heaven, the set rounding out on the classy cut What Am I Supposed To Do, closing on the beautiful Rainfall.

Disc 2:
1. Say You Love Me (Orchestral Instrumental) 2. Messages (Orchestral Instrumental) 3. Never Again (The Dancer) (Orchestral Instrumental) 4. Remember David (Orchestral Instrumental) 5. Hearts On Fire (Orchestral Instrumental) 6. The Story Of A Young Heart (Orchestral Instrumental) 7. What You Said, What You Meant (Orchestral Instrumental) 8. Living In Heaven (Orchestral Instrumental) 9. What Am I Supposed To Do (Orchestral Instrumental) 10. Rainfall (Orchestral Instrumental)

The second disc is chock floor to ceiling with Orchestra Instrumentals, so everything you heard before just with the vocals removed. Nonetheless, these versions act as wondrous karaoke backing tracks for any and all aspiring singers working their way around the house or driving in the car whilst listening to them!

Stand outs here for me, although they are all scintillating to listen to on this veritably acoustic string format, are Never Again (The Dancer), The Story Of A Young Heart, What You Said, What You Meant and closer Rainfall.

Disc 3:
1. Say You Love Me (Orchestra & Vocal Version) 2. Messages (Orchestra & Vocal Version) 3. Never Again (The Dancer) (Orchestra & Vocal Version) 4. Remember David (Orchestra & Vocal Version) 5. Hearts On Fire (Orchestra & Vocal Version) 6. The Story Of A Young Heart (Orchestra & Vocal Version) 7. What You Said, What You Meant (Orchestra & Vocal Version) 8. Living In Heaven (Orchestra & Vocal Version) 9. What Am I Supposed To Do (Orchestra & Vocal Version) 10. Rainfall (Orchestra & Vocal Version)

The third disc takes the songs to a whole other symphonic level, this time by rearranging all the hits in an Orchestra and Vocal version, which allows them to crystalize together very nicely.

Stand outs here for me, although there a just so many, are refreshing orchestral and vocal mixes of Messages, Remember David, Hearts On Fire and both On My Knees, and both Living In Heaven and What Am I Supposed To Do.

Disc 4:
1. Hearts On Fire (Extended Orchestral Version) 2. Never Again (The Dancer) (Sare Havlicek I Feel Danced Remix) 3. Say You Love Me (Domestic Technology Remix) 4. The Story Of A Young Heart (Sare Havlicek Cocktail Version) 5. Messages (Real Sunglasses Remix) 6. What You Said, What You Meant (Musicbox Version) 7. Remember David (Extended Orchestral Instrumental) 8. Say You Love Me (Extended Orchestral Instrumental) 9. Hearts On Fire (Extended Instrumental Version) 10. Messages (Extended Orchestral Instrumental) 11. Rainfall (Bedtime Version)

The fourth disc has a lot of remixes, extended cuts, instrumentals and more and is my favorite disc of the set.

Stand outs here for me are the sweeping Hearts On Fire (Extended Orchestral Version), the busy Say You Love Me (Domestic Technology Remix), a brilliantly inventive Messages (Real Sunglasses Remix), and both a robust What You Said, What You Meant (Musicbox Version) and an extended orchestral version of Messages.

Disc 5:
1. Say You Love Me (Radio Edit) 2. Say You Love Me (Extended Orchestral Version) 3. Say You Love Me (Soda Pimps Remix) 4. Say You Love Me (Extended Version) 5. Say You Love Me (Extended Instrumental) 6. Say You Love Me (Main Version) 7. Say You Love Me (Video Edit) 8. Say You Love Me (Main Instrumental)

The fifth and final disc is basically an EP showcasing various versions done as Orchestral, Remix and Edits of Say You Love Me. The song is just so nostalgic in so many ways. Another brilliant, sweepingly embracing one minute, gracefully soaring the next work of musical art from one of the most influential New Wave bands ever.

Official Purchase Link

www.aflockofseagulls.org

For those not in the know, The Orchesography Box Set expands b>Wang Chung’s original orchestral project into a stunning 6-CD journey through orchestral versions, vocal variations, and inventive remixes plus two additional CD singles.

Featuring hits like Let’s Go, Dance Hall Days, Everybody Have Fun Tonight and the iconic To Live and Die in L.A., this comprehensive release redefines their sound for fans old and new.

Indeed, it beautifully bridges the band’s iconic past with a bold, orchestral future, celebrating the timeless strength of their songwriting.

Disc 1:
1. Dance Hall Days 2. Let’s Go 3. Everybody Have Fun Tonight 4. To Live And Die In L.A. 5. Overwhelming Feeling 6. Hypnotize Me 7. Space Junk 8. Electric Days 9. The World In Which We Live 10. Everybody Have Fun Tonight (Reprise)

This incredibly stunning 6-CD box set opens on a slew of greatest hits all done as Orchestral versions, and which begins with gorgeously smooth Dance Hall Days and the criminally underrated song Let’s Go and then comes the massive worldwide hit Everybody Have Fun Tonight (complete with seizure-inducing video!), the atmospherically-charged soundtrack cut To Live And Die In L.A. and a song made even more beautiful here, the stunningly elegant Overwhelming Feeling.

Along next is one of their more hypnotizing songs, the aptly-titled Hypnotize Me and that is in turn backed by an oddity, a newer track of theirs that just didn’t land with the fans, albeit to be underrated, the rhythmically-grooved Space Junk, the beautifully performed/crafted Electric Days (an upside down world version of Dance Hall Days), the set rounding out on the propellent The World In Which We Live, closing on a newly quilted treatment of Everybody Have Fun Tonight (Reprise).

Disc 2:
1. Hypnotize Me (Orchestra And Vocal Version) 2. Let’s Go (Orchestra And Vocal Version) 3. Everybody Have Fun Tonight (Orchestra And Vocal Version) 4. To Live And Die In LA (Orchestra And Vocal Version) 5. Overwhelming Feeling (Orchestra And Vocal Version) 6. Dance Hall Days (Orchestra And Vocal Version) 7. Space Junk (Orchestra And Vocal Version) 8. The World In Which We Live (Orchestra And Vocal Version) 9. Electric Days (Orchestra And Vocal Version) 10. Everybody Have Fun Tonight (Reprise) (Orchestra And Vocal Version)

The second disc is chock floor to ceiling with Orchestra and Vocal Versions, Instrumentals, so everything you heard before just further enhanced.

Stand outs here for me, although they are all simply breathtaking to listen to and enjoy in this veritably acoustic string format, are Hypnotize Me, To Live And Die In LA, Dance Hall Days and both Space Junk and The World In Which We Live.

Disc 3:
1. Everybody Have Fun Tonight (Orcapella) 2. Hypnotize Me (Orcapella) 3. To Live And Die In LA (Orcapella) 4. Dance Hall Days (Orcapella) 5. Let’s Go (Orcapella) 6. Overwhelming Feeling (Orcapella) 7. Space Junk (Orcapella) 8. Electric Days (Orcapella) 9. The World In Which We Live (Orcapella) 10. Everybody Have Fun Tonight (Reprise) (Orcapella)

The third disc takes the songs to a whole other symphonic level, this time by rearranging all the hits in an Orcapella styling, which allows them to crystalize together very nicely.

Stand outs here for me, although there a just so many, are cuts such as the opener Everybody Have Fun Tonight, To Live And Die In LA, a resilient Dance Hall Days and both the beauty of Overwhelming Feeling and The World In Which We Live.

Disc 4:
1. Hypnotize Me (One Era Remix) 2. Let’s Go (Soda Pimps Remix) 3. To Live And Die In LA (Skintologists Love And Dub In LA) 4. Everybody Have Fun Tonight (Reprise) (Aimes Remix) 5. Dance Hall Days (Kim And Buran 80’s Boogie Remix) 6. The World In Which We Live (Sands Of Rio Remix) 7. Overwhelming Feeling (Domestic Technology Spring And Bass Remix) 8. Everybody Have Fun Tonight (Beats Remix) 9. Space Junk (Chris Coco Balearic Dub) 10. Electric Days (Extended Mix)

The fourth disc has a lot of remixes and extended cuts and is quite easily my favorite disc of the set.

Stand outs here for me are the all-embracing Hypnotize Me (One Era Remix), the stoic To Live And Die In LA (Skintologists Love And Dub In LA), the bursting alive Dance Hall Days (Kim And Buran 80’s Boogie Remix), and both the vibrant Everybody Have Fun Tonight (Beats Remix) and an extended mix of Electric Days.

Disc 5:
1. Dance Hall Days (Orchestral Version) 2. Dance Hall Days (Daniele Baldelli & DJ Rocca Vocal Remix) 3. Dance Hall Days (Kim & Buran Disco Mix) 4. Dance Hall Days (Psychmagik Remix) 5. Dance Hall Days (Orcapella)

The fifth disc is basically an EP showcasing various versions done in both Orchestral ways and as Remixes of Dance Hall Days. The song is just so nostalgic in so many ways and it is amazing how such a simple song can be so absolutely brilliant and indeed iconic all these decades later.

Disc 6:
1. Everybody Have Fun Tonight (Orchestral Extended Remix) 2. Everybody Have Fun Tonight (Rikky Disco Club Edit) 3. Everybody Have Fun Tonight (Orchestral Version) 4. Everybody Have Fun Tonight (Beats Remix) 5. Everybody Have Fun Tonight (Rikky Disco Remix) 6. Everybody Have Fun Tonight (Diskette Remix) 7. Everybody Have Fun Tonight (Brassapella) 8. Everybody Have Fun Tonight (Orchestral Extended Instrumental)

The sixth, and final disc is yet another EP showcasing various versions done as Orchestral, Remixes and Instrumental forms, Everybody Have Fun Tonight. And the same applies here as it did to Dance Hall Days that the song is just so nostalgic in so many ways and it is amazing how such a simple song can be so absolutely brilliant and indeed iconic all these decades later.

I mean, come on now, when they spun this jam at the clubs back in the 80’s, EVERYONE jumped on the dance floor! Even YOU! The song is pure summer encapsulated. It was also a song that once you heard got stuck in your head for years to come!

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www.wangchung.com

For those not in the know, San Diego’s distinct music community has spawned a new acoustic album from two of the thriving scene’s artists who are poised for major national breakthroughs.

Beach/Rock/Reggae band Sandollar and reggae/rock singer-songwriter Kela Sako have paired to record a set of duets of their best-known songs plus one new tune, “Glitter,” that they wrote together for “Sun Sets Vol. 1: An Acoustic Session,” which debuted top ten on the iTunes Reggae Albums chart.

The labelmates of the San Diego-based Pacific Records recorded the project co-produced by the label’s president, CEO, and founder Brian Witkin and Sako in The Music Company’s studio, a nonprofit incubator for the San Diego music scene. The single “Glitter” was released ahead of the album release as an instant gratification track on October 17th, 2025.

The concept of recording an acoustic album together was conceived by Sako. A unique element to the album is that the artists sing each other’s songs. Neither act has ever recorded any of their music acoustically before. Not only does the project create an opportunity for them to reimagine their own material, but it allows them to introduce the songs to new listeners who may be unfamiliar with the original versions.

“I’ve always loved it when artists cut acoustic versions of their songs. I feel that it gives a song a whole new life and existence. The emotion can be felt so purely when it’s stripped down to just acoustic instruments and vocals. I asked Sandollar if they’d want to collaborate on the project with me and was so excited when they agreed to it. It was the start of a beautiful journey of creation,” said Sako, a native of Hawaii who now lives in San Diego.

1. “So Dangerous”
2. “Promise To Return”
3. “Speed Bumps”
4. “Beautiful”
5. “Who Are You”
6. “Up Up”
7. “Glitter”
8. “Change”

This melodically opulent new album opens on the smoothly alluring “So Dangerous” and then brings us the smoldering “Promise To Return,” the rhythmically pleasing “Speed Bumps” and the upbeat and joyful “Beautiful.”

Along next is the melodiously crafted “Who Are You” which is in turn backed seamlessly by the Latin-hued hipsway of “Up Up,” the set rounding out on the low slung balladry of “Glitter,” coming to a close on the all-embracing “Change.”

www.sandollartheband.com

www.lovekela.com

For those not in the know, Santa Barbara-based singer-songwriter Nicole Sophia creates lyrically rich indie pop/rock that radiates joy, boldness, and vulnerability. Known as “the girl of a thousand questions,” she began writing songs as a way to process the beautiful mess of being human, a practice that has since grown into her calling.

Her debut EP, Reveal Your Heart (2024) captured the yearning and curiosity of early adulthood and introduced her as a fresh, fearless voice. Since then, Nicole has continued to evolve both sonically and personally, honing a sound that is as playful as it is poignant.

Now, with a loyal and growing fanbase of over 100K across socials and tens of thousands of streams, Nicole released her second record, FERAL, in October 2025.

Born from a period of heartbreak, self-discovery, and reclaiming freedom, the record is wild, raw, and unapologetically personal. From flirty anthems like “Meet Me in the Bathroom” to gut-punch confessionals like “If You’re Gonna Love Me,” the album showcases her range as both a writer and performer.

1. “Too Young To Die”
2. “Sweet Melancholy”
3. “Some Kind of Soulmates”
4. “Meet Me in the Bathroom”
5. “Dark Chocolate”
6. “Sex on the Internet”
7. “Hope That We’ll Figure It Out”
8. “If You’re Gonna Love Me”
9. “Praying for a Positive Sign”
10. “Everything’s Gonna Be Fine”

Growing and expanding sonically as an artist, Nicole’s new album opens on the alt-rock of “Too Young To Die” and then brings us the anything but “Sweet Melancholy”, the upbeat and fearless “Some Kind of Soulmates”, the low-slung mid-tempo “Meet Me in the Bathroom” and the quaintly melodious “Dark Chocolate.”

Along next is the jovial, fun-paced pop-tastic “Sex on the Internet” and that is in turn backed by the rhythmically intoxicating “Hope That We’ll Figure It Out,” the quietly countrified “If You’re Gonna Love Me,” the set rounding out on the alt-pop brilliance of “Praying for a Positive Sign,” closing out on the stoically-structured, veritably ethereal, yet with a positive beat to it “Everything’s Gonna Be Fine.”

www.nicolesophiamusic.com

Nicole Sophia @ YouTube

For those not in the know, Mike Shouse was born Michael Stephen Shouse on September 27th, 1970 in Jackson, KY. In 1992 he moved to LA and attended the Guitar Institute of Technology in Hollywood, CA. He has written articles and lessons for online sites such as chopsfromhell.com and guitar9.com, and has been featured in magazines like Progression, Fireworks and The Sound guitar magazines.

He released “Enter the Soul” in 2001 and the song “Man” was on a compilation CD “International Anthems: Volume 1” in 2002. His second release Alone on the Sun was released in June 2010 and got rave reviews worldwide. The title track “Alone on the Sun” was featured on the new compilation CD “Gods of Indie Guitar 2011” and premiered on the Australian tv show “Guitar Gods and Masterpieces.”

Jaded is his first release in 15 years and he’s back with friends! Featuring guest solos from legends Michael Angelo Batio, Ron “Bumblefoot” Thal and Tony MacAlpine. Filling out the band on drums, the best of the best, from NY, Charlie Zeleny (Drumageddon, Jordan Rudess and Terry Bozzio).

Playing bass, from Los Angeles, James Amelio Pulli (Metal Hall of Fame bassist for Impellitteri). Mixed and mastered by Nashville legend Billy Decker. As Shouse states, “This album is a rebirth for me in many ways,” and critics from around the world are taking notice.

1. Romeo and Juliet (Prelude) [01:00]
2. Romeo Is Gone (feat. Michael Angelo Batio) [03:43]
3. A Bitter Cold [02:02]
4. Let’s Go (feat. Ron “Bumblefoot” Thal) [04:58]
5. Smiley Faced Emoji [03:55]
6. Bucket of Bolts [04:31]
7. Jaded [05:08]
8. Memoriam [02:05]
9. Upon Looking Back (feat. Tony MacAlpine) [04:31]

Shouse marks his long-awaited return through these wondrous nine instrumental compositions, which open on the short, but sweetly ambient Romeo and Juliet (Prelude) before heading into the rock-metal danger zone with Romeo Is Gone (featuring heavy metal guitarist Michael Angelo Batio), then comes the playfully ethereal A Bitter Cold, and the drum-tastic rocker Let’s Go (featuring guitarist, songwriter, and producer Ron “Bumblefoot” Thal).

Up next is the free flowing, high flying Smiley Faced Emoji, the metal-meets-industrial sounds of Bucket of Bolts and they are in turn backed by the smoother AOR of Jaded, the set rounding out on the all-embracing balladry of Memoriam, closing on the melodic rock of Upon Looking Back (featuring musician and composer Tony MacAlpine).

www.mikeshousemusic.com

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