Turns out, the old classic-rock dogs Ian Anderson and Jack Bruce know a few new tricks. Both have intriguing albums out that recall, in some ways, their celebrated earlier work with Jethro Tull and Cream, respectively. But neither, as we hear this week, are bound by those legacies.
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John Frusciante continues his deeply intriguing, deeply idiosyncratic solo career, underscoring just why he had to leave what was once thought to be a career-defining partnership with the Red Hot Chili Peppers.
Jack Bruce reaffirms his sweeping legend, while Robert Cray changes producers but loses no momentum. Brian May and Kerry Ellis offer a candlelit moment at Montreux, even as we get an all-inclusive look back at the Alan Parsons Project.
Andy Summers is returning to rock after a lengthy post-Police period spent experimenting with jazz and world music, while Asia takes on a new guitarist — but rediscovers an old sound along the way.
John Oates issues a career-defining, endlessly diverse trio of EPs, while Matthew Shipp — one of our last truly original improvisers at the piano — returns with an invigorating new trio recording.
Glass Hammer is promising a house party of a prog-rock record, having invited over a number of old friends and a slew of new ones. Meanwhile, we get an expanded overview of Carl Palmer’s lengthy career — and not just the goodies from his tenures in Emerson Lake and Palmer and in Asia, either.
There may have been a lineup change with Drive-By Truckers, but they’ve lost none of the momentum that makes them one of the best rock bands operating today. Robben Ford, meanwhile, follows up a well-received covers album with one focusing on originals — all recorded on a single, sizzling day in Nashville.
Neneh Cherry and Jeremy Spencer, the co-founding Fleetwood Mac slide guitarist, offer albums that push hard at the edges of their own recorded legacies — while Joe Louis Walker, who’s finally getting his just rewards, settles into a well-deserved familiarity on his newest album.
Neil Finn and Dianne Reeves return with rare studio efforts, while Band of Horses strips their sound bare in a nervy acoustic performance.
You perhaps knew, listening to blues-scalded moments like 1969’s “I’m a Mover,” that Paul Rodgers had a great — a truly great — R&B record in him. But nothing, not even that old Free side, will prepare you for the outsized joys surrounding his new Royal Sessions.