THE SHAPE OF THINGS TO COME (REISSUES AND ANTHOLOGIES) By Michael McDowell

 CD AND LP REISSUES / ANTHOLOGIES (PLUS BOOKS)

(REVIEWS ARE POSTED IN ALPHABETICAL ORDER BY ARTIST)

I'LL FOLLOW THE SUN: Gear Fab label cofounder ROGER MAGLIO's early endeavors as a recording artist return to print in Songs From The Rocks. Editor/Publisher Michael McDowell puts the pieces of the puzzle together below (Click on above imaege to enlarge). 

BILL EVANS IN NORWAY:

THE KONGSBERG CONCERT -

Bill Evans (Elemental Music)

Few personified the notion of suffering for one's art as poignantly as did Bill Evans.

To wit, despite a somewhat dramatic affiliation with trumpeter Miles Davis' band in 1958 - 1959, keyboard virtuoso, visionary and Plainfield, New Jersey native Evans managed to rise to the occasion and soar on the group's landmark Kind Of Blue album for Columbia. 

Evans left Davis' group in late 1959 and formed a groundbreaking trio with bassist Scott LaFaro (whose most impressive resume included collaborations with Chet Baker, Ornette Coleman, Buddy DeFranco, Stan Getz and Cal Tjader) and drummer Paul Motian. The group flourished well into 1961, when LaFaro's sudden passing in an auto accident in July of that year sent Evans into a protracted tailspin.

Nonetheless, Evans' work on stage and in the studio continued to soar. In 1966, he joined forces with bassist Eddie Gomez, with whom he collaborated on this magnificent thirteen-track live set. 

Recorded at the Kongsberg Jazz Festival on 26 June 1970, Bill Evans In Norway finds Evans, Gomez and drummer Marty Morell in perfect sync with one another, as they glide through an impeccable cross section of richly diverse material, including the adventurous 34 Skidoo, Quiet Now, Gloria's Step, Nardis and an ambitious take on Roger Williams' Autumn Leaves. Throughout the proceedings, Gomez instinctively asserts and downplays his role as needed, with Morell serving as a driving force of sorts between Evans' moments of solo flight.

Evans doggedly persevered throughout the 1970s, recording two acclaimed collaborations with Tony Bennett in mid-decade. Sadly, he succumbed to lingering health concerns in September 1980 at age 51.

The latest in a long series of Evans projects by veteran archivist and historial Zev Feldman, Bill Evans In Norway also includes a rare interview with Evans, plus recent exchanges with Gomez and Morell, as well as commentary by other musicians who were present at the event. True to form, it is a superb depiction of a Time Remembered most favorably.

BOLD AS LOVE -

The Jimi Hendrix Experience 

(Experience Hendrix / Legacy)

When the recording industry began phasing out the large scale production of monaural LPs in 1968, albums such as this one were arguably at minimum a contributing factor towards that decision.

Upon their introduction in 1957, stereo albums were hailed as a more realistic listening experience. The intent was to give the audience a more accurate representation of a live perormance, something that that by definition the one dimensional monaural alternative could not offer. 

However, it took the better part of the next decade for the format to find its footing.

To that effect, there were some who presumed that the stereo process achieved its  goal in production with a mix that (for example) assigned the isolated vocal tracks to one channel, and the accompanying instrumentation to the other channel.

But by 1967, a number of artists had assimilated the basics of the process and were taking the concept even further. At year's end, the Florida-based Royal Guardsmen released their acclaimed third album for the Laurie label. Therein, the band utilized such perks of the trade as crosstalk and phasing to simulate a World War I battle scene inbetween related numbers. Suffice to say that by definition, the monaural version of that album lost something in the translation.

For the Jimi Hendrix Experience, much of 1966 and 1967 was a grad school level learning process in that respect. To be certain, the stage was already set from within. An avid record collector, drummer Mitch Mitchell also brought to the band a wealth of first generation garage rock experience from his time with the Riot Squad. In turn, guitarist and front man Hendrix had done numerous sessions with Joey Dee, Wilson Pickett, Curtis Knight and others.

Even more so, the Jimi Hendrix Experience's 1967 tour with the Monkees was a most fortuitous pairing. Both bands were determined to take their art to the next level within their respective mission statements. From Hendrix's perspective, the Monkees encouraged and heightened his awareness of the importance of creative autonomy, as well as the critical nature of the fundamentals of composition. Live appearances later that year with fellow Monterey Pop Festival alumni the Mamas And Papas (whose resident creative visionary, John Phillips was an avid student of the work of such greats as the Gershwins, Leiber and Stoller, etc.) did much to further the rich musical diversity in the Experience's own mission statement. 

In that respect, the band's Reprise debut, Are You Experienced was both a learning curve born of defensiveness, as well as an assertion of that newfound acumen. To be certain, they learned their lessons well. By the time their second Reprise album, Axis: Bold As Love saw release at the end of 1967, the band was firing on all cylinders. 

Among other things, Axis: Bold As Love saw the band taking full advantage of the possibilities of the stereo format. To that effect, the tongue in cheek, spoken word opening track, Exp finds voices split between left and right channels, with accompanying guitar-based sound effects swirling back and forth in a manner not unlike a race car circling a racetrack. In turn, the album's sublime debut single, Up From The Skies finds Hendrix utilizing his considerable guitar acumen to (in part) replicate minor vocal harmonies, giving the piece an otherworldly atmosphere that owes as much to the potential of technical savvy (for which credit must also go to board master Eddie Kramer) as well as the classic vocal groups of the immediate post-Barbershop era, such as the Revelers. 

Axis: Bold As Love also reflects a quantum leap in songwriting, from the everyman foibles of Wait Until Tomorrow to the foundational rock and roll inspiration of Little Miss Lover. The album also incorporates the benefits of stereo to maximum advantage, as showcased impeccably in One Rainy Wish and Bold As Love.

Released at the end of 2025, this latest in a long series of Experience Hendrix / Legacy collaborations most assuredly does both band and the original album justice. In keeping with a long standing demand amongst certain factions of the record collector contingent (albeit seemingly in contrast to the industry's aforementioned procedural developments in 1968), this lavish four CD plus bluray box set includes the original 1967 release in its monaural mix, as well as the stereo version.

But where Bold As Love really shines is in its wealth of bonus material. In this case, two CDs worth, including such game changing fare as The Stars That Play With Laughing Sam's Dice, live renditions of the earlier singles Purple Haze and Foxey Lady, and early takes of Burning Of The Midnight Lamp, which ultimately saw release on the double album, Electric Ladyland in the Autumn of 1968. 

With this release, the Jimi Hendrix Experience remains part of a rare trio of musical visionaries (alongside John Coltrane and Jim Reeves) who have been gone for more than a half century, yet whose archives continue to yield heretofore unavailable material well into the twenty-first century. To paraphrase a landmark cut from their Are You Experienced album, their Fire continues to stand. We remain immeasurably blessed as a result.

SONGS FROM THE ROCKS -

Roger Maglio

(Gear Fab)

Since the closing years of the twentieth century, Roger Maglio's Gear Fab Records has been a leading light among labels that specialize in the reissue of rare archival material. With hundreds of releases to its credit, Gear Fab has helped sustain the momentum for classic works by the Majic Ship, Bump, Stone Harbour, Eternity's Children, the Palace Guard, Big Boy Pete, the Crazy People and many others. 

It is not without precedent for individuals in positions of authority at record labels to make their own marks in the recording studio. Capitol's Johnny Mercer, Motown's Bob Kayli, Columbia's Mitch Miller and Hi Records' Ray Harris are among those who have successfully done so. 

Songs From The Rocks is a welcome reminder of Maglio's initial aspirations in that respect. Compiled from various recordings made by Maglio as a solo artist and as a member of the Borrowed Times Band. Much of the material herein initially saw release on vinyl in limited quantites on Gear Fab in the late 1980s. But as the label increasingly directed its attention towards the reissue of material by other artists, Maglio's own musical projects were shelved for a season.

The material herein showcases Maglio as artist with a clear cut vision that stands in solidariy with the mission statements of many of the bands whose works he returned to print. To wit, Flower Child espouses the basics championed by Gear Fab favorites, Stone Harbour in the reissue of their 1974 Emerges album. In turn, the Cesar Franck-like organ flourishes that grace the album's opener, You Can't See Me (No More) set the stage for the mid-tempo, first generation garage rock-inspired drama that served the Rain Parade well in such like minded originals as Kaleidoscope. 

Conversely, the instrumental Cedar Beach shines as a dreamscape variation of sorts of the inspiration of the Pyramids and the Chantays. A duly executed and immersible cover of the Beatles' I'll Follow The Sun irrefutably drives the point home. 

While Maglio's responsibilities at Gear Fab continue to command the bulk of his attention, Songs From The Rocks serves as a solid launching pad for whatever such subsequent ventures he may pursue in the future. In the words of the aforementioned Stone Harbour, it would be a mere Stones Throw in terms of regaining momentum.

LIVE IN FRANCE -

Sister Rosetta Tharpe

(Deep Digs)

Much of which was taken for granted in the second half of the twentieth century was in reality the result of the foundational work of visionary artists in the first half.

To wit, the Heidelberg Quintet, the Mills Brothers and the Ink Spots set the standard for vocal group harmony and interplay. In the process, they raised the bar to the degree that it has yet to be surpassed. 

In turn, giants such as Charly Patton, Robert Johnson, Woody Guthrie, Leadbelly and Hank Williams immeasurably enriched the musical landscape with their formidable acumen as composers and vocalists. Moreover, game changing bands such as the Almanac Singers and the Weavers brought into the mix an emphasis on the cerebral approach within their art, paving the way in the process for everything from the folk boom to first generation garage rock.

One such visionary who elevated the state of the art and made an enormous impact in the process was composer, guitarist, vocalist and Cotton Plant, Arkansas native Rosetta "Sister Rosetta Tharpe" Nubin. Profoundly impacted by Gospel music, Tharpe began playing guitar at the age of six at the Church Of God In Christ, where her mother Katie (who was also a gifted vocalist and mandolin player) served as both a deaconess and missionary.

By 1938, Tharpe had signed with Brunswick Records, where she made her debut with the monster classic Rock Me / Lonesome Road single. Over the next several years, she cut a string of game changing singles for Brunswick and Decca, including God Don't Like It, This Train and Bring Back Those Happy Days. Tharpe joined forces with Lucky Millinder and his Orchestra in 1941, which elevated her profile among the rank and file exponentially. 

Tharpe spent a signigicant amount of time touring both North America and Europe during the 1950s and 1960s. Thankfully, a number of those performances were preserved on film. However, it was only in the late 2010s that this remarkable collection (recorded on 11 November 1966 at the Grand Theater in the city of Limoges in the Haute-Vienne department of west central France) was discovered by historian Zev Feldman in the Institut National de L'audiovisuel archives. It now makes its offical debut here in both the vinyl and CD configurations. 

By the time of this recording, Tharpe had long been acknowledged as one of the founders of rock and roll. Artists from Carl Perkins and Elvis Presley to Little Richard and long time Herman's Hermits rhythm guitarist Frank Renshaw (who had attended a Therpe live performance in the mid-1960s) have sung her praises, while guitarists from Eric Clapton to Keith Richards have hailed her influence in their own work. 

In this release, Tharpe sings the praises of God as few could, with a fervor that continues to motivate and inspire. Herein, she revisits a number of classics that also found a home in the repertoires of her musical peers and disciples, including Didn't It Rain (Evelyn Freeman and the Exciting Voices; Mahalia Jackson), Down By The Riverside (the Weavers) and When The Saints Go Marching In (the Kingston Trio), as well as a few of her own signature tracks (This Train, Bring Back Those Happy Days, Moonshine) and a closing number that had also graced the repertoires of Blind Willie Johnson, the Five Blind Boys Of Alabama and Nina Simone, Nobody's Fault But Mine.

Sadly, Tharpe suffered a stroke in 1970, which led to a diabetes-related amputation of a leg. Despite her valiant attempts to rebound, Tharpe suffered a second and fatal stroke on the eve of a planned recording session in Philadelphia, Pennsylvania in October 1973. She was 58.

With a wealth of archival material and rare photos, as well as a comprehensive essay by Tharpe biographer Gayle Wald and insights from Bonnie Raitt, Moving Sidewalks / ZZ Top co-founder Billy Gibbons and actor / former Black Flag lead vocalist, Henry Rollins, Live In France is indeed nothing short of answered prayer.

HE TOOK US BY STORM -

Various Artists

(Bear Family)

And a quiet storm it was not.

Given the wealth of covers afforded Bob Dylan material during rock and roll's peak creative period (from the Turtles' It Ain't Me Babe and the Vacels' Can You Please Crawl Out Your Window to Rick Nelson's She Belongs To Me and Peter Antell's The Times They Are A Changin'), it would have been a fairly straightforward process to issue a CD comprised of the best such endeavors.

But in keeping with Dylan's consistent endeavors to confound expectations, Bear Family herein instead has gathered twenty-five tracks that drew their inspiration from his work. The rich diversity of artists represented in He Took Us By Storm speaks volumes, from Dion DiMucci (Two Ton Feather), Billy Joe Royal (covering Joe South's These Are Not My People) and Donovan Leitch (his Hickory-era Universal Soldier single) to Bob Seger And The Last Heard (their landmark January 1967 Persecution Smith single for Hideout), Barry McGuire (his much loved Dunhill-era Don't You Wonder Where It's At) and Leon Russell (Everybody's Talking About The Young). First rate gems by Eric Andersen, P.F. Sloan, David Crosby, Tom Rush, Johnny Winter, Bobby Darin, Boz Scaggs, Ferre Grignard and Dino Valenti round out the remainder of the set.

Featuring an insightful commentary by the late John Sinclair (a one time member of Blitz Magazine - The Rock And Roll Magazine For Thinking People's production team) and extensive sleeve notes by Philippe LeBras and others, He Took Us By Storm is most assuredly a decisive step towards taking the far reaching impact of one of the twentieth century's premier wordsmiths and Bringing It All Back Home.

KINGS, QUEENS AND JOKERS  -

Victoria (Gear Fab)

Remarkable is the reissue project that enjoys deluxe treatment in its third incarnation.

Such is the case with the 1971 debut album by the New Jersey band, Victoria. Recorded between 1969 and 1971, the original album featured eight original compositions by band co-founder Greg Ruban.

In reality, the album was a joint venture between Victoria (Ruban, along with Sharon Barton, Maureen Deidelbaum and Cheryl Simpson), in tandem with the Dirty Martha Band. Logistics prevented the band from performing live, but they did manage to capture this lone extraordinary effort in the studio. 

As a composer, Ruban (who also served as producer for this project) demonstrated remarkable vision and depth during that deceptively fallow creative period. To wit, the original album featured ambitious psychedelic workouts such as Village Of Etaf, which would have been right at home within the fertile boom period that produced the likes of Tintern Abbey, Grapefruit and the Soft Machine a scant few years earlier. 

In turn, the curious Cumberland takes its cue in parts from the Velvet Underground's Sunday Morning, while Gevaro avails itself as a latter day reimagination of Frankie Laine's Jezebel. Moreover, Ride A Rainbow serves as an extension and/or answer of sorts to the Jimi Hendrix Experience's Purple Haze, while the opener, Peace sports some refreshing acoustic guitar in its intro that falls in solidarity with the like minded overtures found in Lighthouse's One Fine Morning. The rare profession of candor that is the aptly named Never Knew Blues brings it all full circle; paradoxically drawing as it does from the tension that graced the template of Billy Roberts' often covered 1962 standard, Hey Joe.

Curiously, Kings, Queens And Jokers did not make it past the demo stage at the time of its recording. Nonetheless, it did finally see a limited release of two hundred copies in the early years of the twenty-first century. Out of print since 2005, it now enjoys a deluxe CD reissue on the Gear Fab label. For this deluxe third appearance, label president Roger Maglio has included seven heretofore unreleased Ruban compositions that were drawn from master tape and acetate sources, highlighted by the Gospel-tinged Mister Let Me Go, Child Of A Princess and an alternate take of Cumberland.

Sadly, Greg Ruban passed away in 2008. Nonetheless, his unique vision brings a most welcome addition to Gear Fab's extensive catalog of reissues of the rarest independent releases. Incentive to Ride A Rainbow indeed.

THE SHAPE OF THINGS TO COME (NEW RELEASES) By Michael McDowell

FUNNY FEATHERS:  Veteran composer and vocalist MARIA MULDAUR salutes her legendary mentor, Victoria Spivey in her latest Nola Blue Records release, One Hour Mama.  Editor / Publisher Michael McDowell professes solidarity below. (Click on above image to enlarge).

CDs AND VINYL - NEW RELEASES

(REVIEWS ARE POSTED IN ALPHABETICAL ORDER BY ARTIST)

MAN'S BEST FRIEND - 

Sabrina Carpenter (Island)

Humor is in the eye of the beholder.

Witness Manchild, the recent instant classic single by composer, vocalist and Quakertown, Pennsylvania native Sabrina Annlynn Carpenter. Therein, Carpenter laments her circumstances with a curious mixture of disconcertment and subtle resignation borne of a cavalier reaction with regards to the failure of others to live up to expectations. 

Carpenter dismisses such concerns out of hand at first with several pejoratives  (stupid, slow, useless) before taking a slightly more charitable high road with the less abrasive Manchild before reasserting her upper hand with, "Why you always come running to me?"

The reaction to Manchild among the rank and file to date has been anything but united. Many have dismissed it out of hand, only to be admonished by some to engage in a bit of introspection before passing judgement.

Conversely, Manchild has received glowing accolades from others. It has proven to be one of the most successful singles of the year to date.

For those who perhaps do not have such a vested interest in the subject matter and who maintain an art for art's sake perspective, Manchild stands out as a sterling example of the return to form that has blessed the overall musical landscape throughout the past year. Its strong verse, chorus and bridge template and inventive turn of phrase is in keeping with that which has long graced the best of the most impacting musical movements. 

Indeed, Carpenter shines in that respect throughout the remainder of Man's Best Friend, which was recorded at Electric Lady Studio (once the venue of choice of Jimi Hendrix). While her stark lyricism remains the predominant theme, the musical settings therein (aided and abetted by John Ryan and Jack Antonoff, who served as co-producers with Carpenter) most encouragingly suggest anything but genre myopia. 

To wit, the album's second single, Tears treads the fine line between Patrice Rushen's Forget Me Not and Debbie Gibson's Shake Your Love. My Man On Willpower stays the course in that respect, with a relatively more lavish arrangement worthy of Donna Summer's Love's Unkind. We Almost Broke Up Again Last Night brings it full circle, with a brief aside to the victim as anti-hero perpsective championed in recent years by Taylor Swift.

Conversely, Nobody's Son offers a pleasant turning of the corner with its mid-tempo arrangement in the spirit of Led Zeppelin's D'yer Maker. In turn, When Did You Get Hot? (a variation of sorts on Carpenter's 2024 Bed Chem single) provides an amusing adjunct to the 1978 monster classic Luv' hit, U.O. Me. Carpenter brings the musical diversity full circle with a good natured, tongue in cheek sing along in Go Go Juice (a term that became a permanent part of the landscape via its use by the great Jerry Reed's charismatic Cledus Snow character in the 1977 motion picture, Smokey And The Bandit before wrapping it up with the matter of fact opulence of House Tour and the operatic in a Bohemian Rhapsody way of the album's closer, Goodbye.

However, there persists an ongoing concern within some circles with regards to what is perceived as an impasse in terms of the methodology of the lyrical approach. The reasoning stems in part from a particular interpretation of Ephesians 4:29 about the uplifting nature of words.

That perspective is largely championed by a well intentioned contingent that (for example) most likely has first person experience of the mixed reactions to the lyrical approach of such singles as the Kingsmen's Louie, Louie and the MC5's Kick Out The Jams.

But what is often overlooked in such sectors is that there is an entire demographic (of which Carpenter is a part) that has no such cultural baggage in that respect, and which simply does not view such matters from that perspective. From their point of view, such verbiage no longer produces such an impact and is generally accepted within the the scope of everyday vocabulary. 

Nonetheless, for both camps, Man's Best Friend is a win-win solution. On one hand, that perspective has enabled Carpenter to soar as an inventive lyricist. Meanwhile, those who continue to remain true to certain linguistic guidelines can at least do so with an element of optimism for the future of the art, especially in light of the return to form that has blessed music overall in recent months. In the words of one of Carpenter's earlier triumphs, Man's Best Friend allows for all concerned to persevere with their Eyes Wide Open.

THE TEENAGE YEARS (1964 - 1971) -

Brian Gari (Original Cast)

In an era characterized by individuality, there is nonetheless bound to be some overlap between artists in terms of creative vision.

To that effect, the 1966 motion picture, The Fat Spy opens with Chuck Alden and Jordan Christopher on the water, singing People Sure Act Funny. Therein, Alden and Christopher strike a pose not unlike that found in the period cover photo of The Teenage Years (1964 - 1971), the most recent release by the New York - based composer and vocalist, Brian Gari.

So is that analogy a fair assessment?

"Not at all", said Gari.

"Don't know it. I'll have to check it out".

Conversely, the album's opener, I Hope sports an engaging dreamscape template that evokes the inspiration of Chad And Jeremy's A Summer Song.

"Exactly right!", said Gari.

Indeed, the thirty-five originals that comprise ths richly diverse offering run the gamut of cerebrally-themed concepts and genres. To wit, Gari describes the tongue-in-cheek Lizzie Borden thusly: "I was fascinated by the notorious murder case and musically, heavily influenced by the records of P.F. Sloan and Johnny Rivers".

In turn, Gari sustained that momentum to a degree with Bright Spectrum Of Colors. For his efforts, Gari was rewarded by the Las Vegas group, the Unusual We, who recorded a version of it for Pulsar Records.

"I was all of fourteen when I wrote this song", he said.

"The Beach Boys had Good Vibrations on the charts. So I decided to think of a word as unexpected as vibrations and came up with spectrum!"

Conversely, Gari's introspective side also surfaces regularly herein, as evidenced in Someone Stayed The Night:

"I met up with a runaway aspiring model from Texas.....who was basically homeless. I invited her to stay with us. Despite the insinuation in the lyric, nothing happened. I wonder whatever became of her? Sweet girl".

Likewise, What's The Use? served as a prototype of sorts for the reflective persona that has characterized much of Gari's later work.

"I met a ballet dancer at a party", he recalled in the album's extensive sleeve notes.

"The next day, I wrote this rather pessimistic song, thinking it might be useless to pursue her. Turns out it became an almost five year affair, with her being the muse for dozens of songs, including my Broadway musical".

The remainder of The Teenage Songs finds Gari primarily in that introspective mode. Produced and arranged in tandem with Peter Millrose, the final sessions were completed between August 2024 and August 2025. 

"I stuck to my original concepts", said Gari.

"Follow along with the booklet!"

Indeed, as Gari notes in one of the standout selections of this collection, things will invariably work out for the best when you Go Where Your Feelings Lead You.

GREETINGS FROM YOUR HOMETOWN -

The Jonas Brothers (Republic)

It was time to break camp.

When the Wycliff, New Jersey sibling trio Kevin, Nick and Joe Jonas released their debut album, It's About Time in 2006, they were undergoing an inevitable season of growing pains. Therein, cuts such as 6 Minutes and Year 3000 reflected hardcore aspirations that were tempered by a sense of bravado that was still a work in progress.

But when the group signed with Hollywood Records and released their breakout album, Jonas Brothers the following year, the benefits of the team approach began to avail themselves. Their behind the scenes team provided the right balance of support and direction to enable them to better find their footing. The group soared over the next several years as a result.

However, one of the byproducts of working within the system in that capacity is that those providing the support will seek a return for their efforts via maximum exposure in a variety of settings. In the Jonas Brothers' case, that exposure culminated with their appearance in the 2008 motion picture, Camp Rock alongside Demi Lovato. 

With few exceptions, steps such as those usually signal that the mutual admitation society between artist, support system and the faithful has run its course. To their considerable credit, the Jonas Brothers took note and ultimately opted to embark upon a six year sabbatical in 2013 to pursue individual interests and reassess their priorities for the long haul.

Greetings From Your Hometown proves that their self-imposed hiatus was not an exercise in futility. While remaining faithful to the basic precepts implemented during their tenure with Hollywood Records, the Jonas Brothers herein reflect a subtle yet impacting maturation in mission statement that is not so much the byproduct of chronology as it is a reflection of lessons well learned.

While all encompassing in its outreach, Greetings From Your Hometown nonetheless reflects in spots the need to meet certain factions of the faithful on their own terms. To that effect, Heat Of The Moment and Star both downplay the prerequisite strong verse, chorus and bridge template to serve as a potential adjunct for an alternate media source; a variation of sorts on the late Michael Nesmith's "book with a soundtrack" concept. Moreover, Slow Motion (with Marshmello) placates the faithful who relate on an individual basis, underscoring the attribute of intimacy that has been germaine to their mission statement from the onset. 

Conversely, the single No Time To Talk reflects the inspiration of the Bee Gees' Stayin' Alive to the degree that Barry, Robin and Maurice Gibb are credited as co-composers. Ultimately, those strong vocal harmonies and the impeccably structured verse, chorus and bridge template of Love Me To Heaven provide the trio with arguably their finest moment to date.

In the process, the Jonas Brothers have brought it full circle; reuniting with Lovato as co-producers for the third installment of the Camp Rock series. Likewise, Greetings From Your Hometown sustains that momentum by staying the course while ultimately taking it to the next level. To paraphrase a key track from their It's About Time album, it is still time for them to fly.

A MATTER OF TIME -

Laufey (Awal / Vingolf Recordings)

Bill Parsons once sang of Educated Rock And Roll. But in recent years, Laufey has taken Parsons' concept to the next level by applying it to a variety of genres.

Since making her recording debut in 2020 with her Street By Street single, the composer, vocalist and Reykjavik, Iceland native born Laufey Lin Bing Jonsdottir has made her mark by championing a cerebral approach to composition and delivery that draws from such noble inspirations as Billie Holiday, June Christy, Chet Baker, Astrud Gilberto, Doris Day,  Mel Torme and Eydie Gorme. A graduate of Boston's Berklee College Of Music, Laufrey also worked for a season as a solo cellist with the Iceland Symphony Orchestra.

Following her ambitious, lavishly scored and orchestrated A Night At The Symphony: Hollywood Bowl album with the Los Angeles Philharmonic earlier this year, Laufey has returned to the basics (at least in terms of arrangements) with A Matter Of Time. Herein, she draws from the fundamentals of the mission statements of those aforementioned inspirations and graces them with her gift for a unique turn of phrase. In the process, she both professes solidarity with the remarkable renaissance of songwriting in which the current crop of up and coming artists finds itself, while reminding all concerned how raising the bar in that respect is at once both fundamental and inspirational.

A Matter Of Time soars accordingly with eighteen offerings that will resonate with both the seasoned musicologist and the casual observer who may not yet be familiar with the rich body of work from which she takes her cue. She at once professes solidarity with the former group, while providing inspiration for the latter. This methodology works particularly well with the likes of Silver Lining (in which she resigns herself to a variety of worst case scenarios while in pursuit of a loftier goal) and the album's opener, Clockwork ("Nothing brings me fear like meeting with my destiny"). 

Conversely, Laufey hints at vulnerability in Sabotage (in which she intones, "I'm my worst enemy" in a Mozart-inspired setting) and A Cautionary Tale (a slightly out of character percussive piece, in which she presents the hindsight of, "The truths you will uncover will knock you on your knees" heavenward in prayer). That she does so without compromise to her vison is a fitting testimony to her resolve.

Curiously, Laufey's uncompromising vision has to date kept her somewhat in the background from the perspective of the demographic that stands in solidarity with those artists who apply similar academic methodology to their own work with a slightly more rock and roll-oriented focus. Curious in that the demographic in question by definition has relatively little familiarity with either the aesthetic or cultural attributes of her inspirations, and which was introduced to it without any peripheral baggage. 

Nonetheless, hers is to date a body of work that is guaranteed long term impact by virtue of its adherence to the high standards championed by those visionaries. It is that determination that keeps Laufey riding high on the Carousel which she sings of  herein most convincingly.

ONE HOUR MAMA:

THE BLUES OF VICTORIA SPIVEY -

Maria Muldaur (Nola Blue)

The work of true visionaries tends to pay itself forward.

To that effect, in the late 1960s, one time Imperial Records executive and cutout king, Ken Revercomb (whose clientele included the vaunted Arlans Department Store chain, which boasted a world class record department that was second to none) featured prominently in its delete bins the December 1963 Elektra label debut album by the ambitious Even Dozen Jug Band. Although the album had gone out of print by that time, it nonetheless earned a whole new audience by virtue of the subsequent successes of some of its storied alumni. Among them were the Blues Project's Steve Katz, prolific solo artist Stefan Grossman and Lovin' Spoonful cofounder and mastermind, John Sebastian.

Also among the Even Dozen Jug Band's ranks was the ambitious vocalist and multi-instrumentalist, Maria D'Amato. An avid student of the works of the early blues pioneers, D'Amato went on to an enormously successful solo career as Maria Muldaur.

To her considerable advantage, Muldaur at that time counted among her inspirations and mentors the vaunted composer, vocalist and Houston, Texas native, Victoria Regina Spivey. An instant success upon signing with the OKeh label in 1926, Spivey had also made her mark in film, as an entertainment industry journalist and as a church choir director. Spivey saw tremendous potential in Muldaur, and mentored her in a multi-faceted capacity.

Nearly a half century after Spivey's 1976 passing at age 69, Muldaur has returned the favor with this sublime twelve-track salute to her mentor's legacy. Joining forces with such like minded colleagues as Elvin Bishop (for What Makes You Act Like That?)  and Taj Mahal (on Gotta Have What It Takes), Muldaur herein soars with an all too rare combination of the seemingly incongruous attributes of whimsy and mastery.

Spivey's command of the verse, chorus and bridge template is celebrated impeccably by Muldaur's takes on No, Papa, No!, T-B Blues and Don't Love No Married Man. But by far the most magnificent moment comes from Muldaur's Spivey-inspired Any-Kind-A-Man. The latter track was composed in 1929 by Spivey's much loved colleague, fellow visionary and OKeh labelmate, the great Hattie McDaniel

. McDaniel, who would of course go on to tremendous acclaim as an Oscar-winning film superstar (including landmark roles in Gone With The Wind and Thank Your Lucky Stars) and television pioneer, provided Spivey with one of her finest moments in the studio, enabling Muldaur to bring the process full circle nearly a century later.

One Hour Mama: The Blues Of Victoria Spivey is not the first project to champion the work of the early blues masters in recent months. In 2024, virtuoso guitarist Sue Foley paid tribute to a number of Spivey's like minded colleagues in her One Guitar Woman album for Stony Plain. And with this latest project, Muldaur not only pays her mentor's legacy forward, but (like Foley), brings it full circle. To invoke one of the many Spivey triumphs feted here, it is a Down Hill Pull that nonetheless finds one and all on a decidedly upward trajectory.

THE BIG STIR RECORDS

HIT MACHINE -

Various Artists (Big Stir)

Being involved in the recording industry in the later years of the twentieth century had its advantages for the record collector.

One such perk was the practice by a number of labels to service media outlets with promotional Various Artists 45 EPs, cassettes, LPs and CDs. Those samplers highlighted representative tracks from the latest releases by the label's key artists in the hopes of inspiring the recipients to investigate the work of those artists in greater detail.

True to form, the Big Stir label followed suit at the end of 2025 with the release of the twenty-five track CD collection, The Big Stir Records Hit Machine. The Burbank-based label, which has earned high praise in recent years for giving a home to such highly respected veteran artists as the Cyrkle, the Strawberry Alarm Clock and Graham Parker has in turn done much to bring such proven methodolgies into the modern day setting.

Indeed, The Big Stir Records Hit Machine features much that will inspire. The latest offerings from the aforementioned Strawberry Alarm Clock and Graham Parker (with Mike Gent) are included, along with new material from such like minded artists as 20/20, Nelson Bragg, the Spongetones, the Jack Rubies, Sparkle * Jets U.K., the Gold Needles and Librarians With Hickeys. Pleasant surprises also abound, best evidenced by Michael Simmons' magnificent interpretation of the Beach Boys' Sail On, Sailor.

With the twenty-first century entering its second quarter in 2026, Big Stir has done much to sustain the momentum of proven artists and methodologies; setting the stage for the ongoing betterment of the art to the satisfaction of all factions. In the words of the Bablers' contribution to this collection, it's One Of Those Dreams that requires ongoing oversight. But it is nonetheless worth the effort.

I'M THE PROBLEM  - 

Morgan Wallen

(Big Loud)

"Keep it Barbershop".

That simple admonition became an ad hoc mission statement for the late, great Richard W. "Dick" Briel. A tireless champion of the vocal harmony genre known as Barbershop, Briel was a lead vocalist with the San Gabriel Valley Harmony Statesmen during much of the second half of the twentieth centuy. Adamant in his resolve to keep the group's repertoire within that framework, Briel underscored his point by delivering unwaveringly as the consummate showman; augmented by his genial persona and impeccable sense of comedic timing.

Ironically, during its prolific run as the focal point of music's last collective gasp of consequence (the so called New Traditionalist movement of the late 1980s and early 1990s), country music found itself facing a similar dichotomy in some circles. While by definition the New Traditionalist contingent championed a return to form that in part saw some of the genre's most beloved pioneers (including George Jones, Johnny Cash, Buck Owens and Waylon Jennings) enjoy a late career renaissance, it also brought with it a faction that sought to take the genre to the next level via the incorporation of classic rock into the mix. Reactions among the hardcore faithful were mixed, to put it mildly. 

In a sense, composer, vocalist and Sneedville, Tennessee native Morgan Cole Wallen herein finds himself at a crossroads of sorts between those two perspectives. The beneficiary of extensive media exposure at the onset of his career in the mid-2010s, Wallen was rewarded at the onset with substantial mainstream acclaim.

But with I'm The Problem (a somewhat tongue in cheek profession of self-depreciation that was inspired in part via its use in Taylor Swift's October 2022 Anti-Hero single), Wallen finds himself at his own impasse of sorts between the multi-genre red carpet afforded him via his substantial media platform versus his innate leanings towards the purist perspective. 

To his considerable credit, Wallen herein draws from the best of both worlds and emerges triumphant. To wit, the thirty-seven originals in this collection (recorded over a two year period) find Wallen steadfastly walking in solidarity with the basic precepts of the country music experience and its prerequisite periphery. Wallen's resolve is perhaps best showcased in Revelation, in which he professes the need for salvation in the wake of listening to Billy Graham sermons after a disillusioning encounter with Jim Beam.

Conversely, Wallen's consistent mainstream exposure has afforded him the opportunity to join forces with artists whose own musical visions espouse a multi-genre perspective. His recent projects with Tate McRae (What I Want) and one-time Taylor Swift collaborator Post Malone (I Ain't Comin' Back) were both successful singles and are included here. Each provided a catalyst of sorts for Wallen's propensity towards a broader mission statement. That attribute is showcased quite well herein by his solo single, Love Somebody, as well as such standout tracks as Working Man's Song, Where'd That Girl Go and Leavin's The Least I Could Do.

Interestingly enough, Wallen brings the first half of I'm The Problem together as a thematic medley of sorts, in a manner similar to that executed in 1968 by the Amboy Dukes on the second side of their Journey To The Center Of The Mind album for Bob Shad's Mainstream label. Wallen further drives the point home by augmenting partially developed concepts with dreamscape interludes, as did the Rationals on their debut album for the Crewe label. 

All told, I'm The Problem is a best of both worlds endeavor that ultimately allows for the growth and expansion that has been indigenous to the genre all along. As Wallen himself somewhat prophetically observed in 2023, it is a methodology that is best realized One Thing At A Time.