Kiss’ ‘Destroyer’ found producer Bob Ezrin at his too-busy worst. Kiss is (or it should be) too visceral for that.

Mumford and Sons’ electrified “Believe” feels more like an evolution, organic and heartfelt, than a sharp right turn.

Connections to their shared history stream through every quiet moment of Chris Stamey’s new song with Mitch Easter — and even more light.

Steve Hackett describes ‘Wolflight’ as a journey, through both outer and inner space. The advance song is a ride far more visceral, tangibly thrilling.

Ringo Starr’s comfy, aw-shucks persona often obscures his very real talents as a drummer. Then you hear a song like “Right Side of the Road.”

John Wetton’s reunion with former King Crimson bandmate Robert Fripp was bound to stand out on a new ‘Studio Recordings Anthology.’

Death Cab for Cutie’s “The Ghost of Beverly Drive” feels like the centerpoint in this album’s unusual journey both with and without Chris Walla.

An unexpected Violent Femmes reunion a few years ago didn’t seem to produce anything in the way of new music. At least, until now.

Ringo Starr has always loved reanimating his storied past in song, but rarely has he hit on such a winning combination of whimsy and memory.

Presented from the start as a next-gen Janis Joplin, Beth Hart has a well-earned reputation as a whiskey barrel-busting belter. This isn’t that.