Tony De Meur discusses the struggles he had in compiling the Fabulous Poodles’ new ‘Mirror Stars’ box set, and the possibility of a long-hoped-for reunion.

Like Claudio Scolari and Daniele Cavalca’s prior projects, you could call ‘Natural Impulse’ “jazz” for a number of reasons but in the end it just sounds like two (sometimes three) guys following their instincts to make music that’s both unpredictable and inviting. And they have only gotten better at doing that.

“Holding On” doesn’t quite reach Yes greatness – ironic, given the song is packed full of so many production tricks.

Of the countless movies I’ve seen throughout my life, Alfred Hitchcock’s ‘The Man Who Knew Too Much’ stands as a huge milestone. Here’s why.

The long-forgotten ‘Both Directions at Once, The Lost Album’ is nonetheless as gratifying as many other John Coltrane albums from the Impulse! era; indeed, it holds its own against the entire, history-making discography.

Matthew Lux’s debut ‘Contra/Fact’ contains a good deal of delightful surprises but given his credentials, such surprises are to be expected.

Refreshing and ultra-catchy, Vince Tomas’ “Anything and Everything” is the perfect summer song.

Martin Popoff manages to make the often-written-about story of Pink Floyd new again. That’s quite an accomplishment in itself.

Co-written by drummer Danny Seraphine, “Take Me Back to Chicago” is a standout from a disjointed album.

All three of the Fabulous Poodles’ U.K. albums have been reissued and remastered. In the meantime, they took a winding journey.