Thomas Truax’s ‘Dream Catching Songs’ thrillingly spins with gadgets, weird combustions, Budgie the drummer, urgent electric guitar and the odd idea or two.

Is this jazz? Is this rock? Is this “progressive” – and if so, what does that mean? Tobin Mueller and Kansas lead us back into an age-old discussion.

Punkadelick’s ‘Inflorescence’ is one of Mike Dillon’s most balls-out records, thanks to the backing of seasoned, genre-free vets Brian Haas and Nikki Glaspie.

Louder than Cream and the Jimi Hendrix Experience, Blue Cheer arrived 55 years ago this month as something radical – even by the era’s standards of anything goes.

With ‘Letters to George’ by his exciting new combo GEORGE, John Hollenbeck once again takes a somewhat odd assortment of musicians and shaped them into the something truly fresh and compelling.

John M. Gouldin is breaking down five less-heralded albums Yes released between 1996-2001, beginning with the ‘Keys to Ascension’ projects.

No artist is pushing harder to expand jazz’s frontiers than Makaya McCraven, and ‘In These Times’ opens up further possibilities of how the music form can progress upward.

David Crosby was a little ways off, walking away from where I stood — then I shouted out. His quick acknowledgement amused me greatly.

Released 50 years ago, Pink Floyd’s ‘Dark Side of the Moon’ was from a different time – and from a very different place. A long while passed before I grew into it.

Doc City’s new LP is about soul searching and contemplation, but it’s also an enjoyable listen with influences ranging from hip hop, R&B and jazz to gospel, soul and rock.