Boasting a homey, Dan Fogelberg-esque nostalgia in both tone and style, Drexel Rayford’s Cherokee Road takes a series of long looks back You May Also Like: Bart and the Bedazzled – Blue Motel (2018)

Trumpeter Nicholas Payton may have begun his journey as part of the traditionalists in the early-1990s Young Lions movement, but he couldn’t have emerged any further afield. You May Also Like: Nicholas Payton – ‘Smoke Sessions’ (2021)

The new English beat combo King Mob comes tearing out on “Selene Selene,” quickly rejoining the fender-bending journey started during their previous tenures with the Sex Pistols, the Pretenders and the Sharks. You May Also Like: Deborah and Pat Mastelotto – ‘A Romantic’s Guide to King Crimson’ (2021)

Back then, all I wanted was for people to just stop talking about U2. Oh my God, they were everywhere.

An involvingly diverse recording artist, Bess Rogers sounds at times like a folkie singer-songwriter project, at others like a tough, punky quipster, and at still others like a pink-clad princess spinning around in a whirl of pop glitter. You May Also Like: Tol-Puddle Martyrs featuring Peter Rechter, “One Drop InRead More

It was the first John Prine song I ever heard, and it still sends shivers of sad wonder. Learning more about his life around the time that “Hello In There” was composed only gives me a deeper appreciation for Prine’s innate sense of humanity You May Also Like: Chicago, “ItRead More

Brian Landrus is one of the fast rising artists on the NYC jazz scene; so much so that it was only in 2009 his debut album Forward came out and now in 2011, we are here talking about his third release of 2011, Capsule. You May Also Like: Brian LandrusRead More

by Tom Johnson One listen to Shara Worden’s voice and it should come as no surprise that she’s actually a trained singer, pulling off with ease the kinds of things most rock singers can only dream of attempting. Worden sounds just a bit operatic — but not so melodramatic, neverRead More

When Jon Anderson told us earlier in the year that he was writing more “Yes-style music” these days, this — even more than his well-received subsequent solo release — was what most people had in mind: A conceptually epic piece, filled with wonderment, musical twists and a theme as broadRead More

I was fine, mostly, with Peter Gabriel dumping the guitars and drums for his interpretations of other people’s work on Scratch My Back. There was considerably less excitement, though, for these looming orchestral interpretations of his own solo works You May Also Like: When Peter Gabriel Suddenly Decided to OpenRead More