“Skinny Boy,” a song that later appeared on the Robert Lamm solo album of the same name, was this weird little treat to end a great Chicago album.

Tom Petty and the Heartbreakers represented what we strive for across so many aspects of our lives: consistency, dependability, and longevity.

The substantive ‘Respect My Art’ by Organ Freeman grooves, rocks and makes you feel good without that nasty guilty pleasure aftertaste.

“Rhythm of Love” provides a rabble-rousing opening to 1987’s ‘Big Generator,’ but I’m not sure it’s really Yes.

Although Elton John was not quite as dominate a force as before, he still parented plenty of worthy moments during this second hit-making era.

The fact that “Woman Don’t Want to Love Me” is a lesser song on ‘Chicago VII’ is a testament to how strong the rest of the album really is.

Philipp Gerschlauer and David Fiuczynski getting together for ‘Mikrojazz: Neue Expressionistische Musik’ took microtonal music to new places, and there’s never a dull moment.

Hooky hard-rocking tunes, loaded with nifty noodlings, humming with momentum and good timing is where Chip Muellemann’s heart and soul resides.

Columbia Records touts the gospel-focused ‘Trouble No More’ as the “definitive retrospective of a pivotal period” in Bob Dylan’s canon. It’s not.

‘Wide Open’ may well be Michael McDonald’s most musically dense and compelling studio project – and that’s saying something.