Terrific new vinyl reissues of ’60s-era albums by Herbie Hancock and Eric Dolphy represent two very distinct sides of the classic Blue Note period.

R.E.M.’s reflective and unconventional ‘Part Lies, Part Heart, Part Truth, Part Garbage’ arrived 10 years ago today as a sort-of concept greatest-hits set.

Listening to Matthew Shipp create on unaccompanied piano is like peering into the soul of a man. ‘Codebreaker’ exposes the soul of an artist absorbing decades of accomplishment but still capable of decades more.

In retrospect, it’s not hard to see why this copycat-sounding self-titled debut is their only LP. ‘Gerard’ is perhaps the best Chicago album of the era.

The Yes lockdown album bides its time, waiting for just the right moment to discuss the COVID-19 shaped elephant in the room.

Ken Sharp’s last studio album ‘Miniatures’ was cut from an orchestral-pop cloth, but the new single “Hellcat” returns to his power-pop roots.

The video debuting here takes us on a whirlwind tour of Carn Davidson 9’s upcoming new album ‘The History of Us’ and the driving force behind it.

This live version of “Maxine” is a worthy addition to the Steely Dan canon, and the most robust early performance on Donald Fagen’s ‘The Nightfly Live.’

Bob Dylan is back on the road. Nobody seemed happier about it during his tour-opening stop in Milwaukee than Bob himself.

“Come to Me, Do” is perhaps the best track Robert Lamm has contributed to Chicago since “Over and Over” on 1986’s ‘Chicago 18.’