This week I’m taking a break from the truly bizarre to have a short visit with the only moderately bizarre.

Greg Lake confirms that Jimi Hendrix was considered for a spot in the earliest incarnation of Emerson Lake and Palmer — and that he was utterly aware of how that might have changed things when it came to the group’s name.

Every once in a while an artist puts it all together. Memphis, a Boz Scaggs project that is by turns silky smooth and then a raucously grooving delight, is that record. Elsewhere, the Replacements make a triumphal return, as well.

Jimi Hendrix’s legacy has been so brazenly, endlessly plundered, it’s fair to approach any so-called “new” material from the late guitarist with a deep distrust. Circumspection this time soon transforms into pure joy.

Guitarist Frank Marino flaunted his Jimi Hendrix fetish to extreme effects, going as far as saying the spirit of the great axeman entered his body shortly after his death in 1970, resulting in a transfer of talent and ideas.

Stuck on a desert island, you’re going to want to rock every once in a while, right? That’s where this string-bending, axe-swinging, fretboard-melting, amp-blowing list comes in.

What if Jimi Hendrix had not passed in 1970 and went on to re-work the title track from his 1968 opus Electric Ladyland in 1977?

It probably goes without saying that, once you found yourself stranded on a distant island, there would be blues. And every kind, too — Delta, dirty, city, country, grease-popping, Texas crunching, let-it-all-hang low, you name it.

Our voters for 1960s-era classic rock Desert Island Discs were of two minds: The band of the decade was clearly the Beatles, while the album vote went to the Beach Boys’ Pet Sounds.

From cool jazz to spooky medieval metal, from honky tonk heroes to some ass-whipping white blues, there something for almost everyone in this exciting edition of Something Else! Reviews’ New Music Monday.