This home-recorded Mick Fleetwood project, never before issued on compact disc, is neither a solo effort nor a Fleetwood Mac knockoff You May Also Like: No related posts.

Boasting a Americana twang but also a rough moral sensibility and a cutting way with an image, Darryl Gregory’s Big Texas Sky is probably too edgy for country radio. It’s a shame. You May Also Like: Wilco (The Album) echoed, but didn’t quite live up to Sky Blue Sky MichaelRead More

Foreigner’s new live album is neither all that bad, nor all that good — probably worth the ticket price at the original concert venue, if you don’t pay too much attention, but instantly forgettable as a home listening experience. You May Also Like: ‘Rockin’ the City of Angels’: Inside DouglasRead More

A gutsy blend of contemplative Evans/Tristano-informed piano excursions and these grease-popping Cuban jams, pianist Gonzalo Rubalcaba’s XXI Century takes us on a journey across time and cultures. You May Also Like: Aruan Ortiz, with Andrew Cyrille + Mauricio Herrera – ‘Inside Rhythmic Falls’ (2020) Matthew Shipp – ‘Codebreaker’ (2021)

Full of raw emotion, frank admissions, fun pop asides and memorable guitar gumption, ‘Analog Man’ illustrates all over again just how complicated Joe Walsh always was.

Chad Wackerman launched a solo career as a respected jazz-fusion and rock musician after a memorable stint with Frank Zappa.

Is this going to draw fans from the electronica crowd into Robert Lamm’s Chicago catalog? Hard to say. Piss off the old fans? Likely.

I can’t remember the last time I heard Chris Squire approach the bass with this much unadulterated passion, with this much joy.

P.J. Pacifico’s voice, like a honeysuckle breeze, is inviting, deeply pastoral, almost hypnotizing. Not for nothing, it seems, do two of the first three songs here focus so completely on “home.” You May Also Like: No related posts.

Garbage shows it can still swirl alt-rock, post-pop and electro-dance beats in a highball glass of lip-busting attitude on this, their first album in seven years. The difference here is the band’s newfound sense of angsty consequence. You May Also Like: Why R.E.M.’s ‘Part Lies, Part Heart, Part Truth, PartRead More