Mini Mansions, a still-emerging LA-based trio, thought they might get the Beach Boys’ Brian Wilson on their new song. What were the chances?

Released five years ago today, Ringo Starr’s ‘Y Not’ featured the usual group of friendly co-stars. A partial Beatles reunion stole the show.

Released on January 12, 1970, “Come and Get It” became Badfinger’s first Top 10 U.S. hit. By the end of the decade, it had brought them together again.

Andy Jackson’s lengthy association with Pink Floyd opens ‘Signal to Noise’ up to easy comparison. But there’s more to his flinty, individual vision.

Stripped down to its girders, Nick Cave’s new interpretation of Leonard Cohen’s “Avalanche” takes on an epic, swirling sadness.

Adroitly named, the title song from ‘The Grand Experiment’ finds Neal Morse trying on a new musical persona – in more ways than one.

A previously unheard song finds Lead Belly singing about an event both literally and figuratively a world away from his life in the piney woods.

Bob Mould’s scorching turn might have obscured a lesser singer. But Butch Walker’s resonant voice carries “Father’s Day.”

A discussion about Joni Mitchell’s jazz period with Robben Ford, who performed on some of her most closely dissected (if not always best loved) albums.

Jon Anderson and Trevor Rabin discuss the creative process that led to Yes’ deeply underrated ‘Shoot High, Aim Low,’ released as a single on Dec. 31, 1987.