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)

IBREATHE: The band's legions of devotees have reason to rejoice with the legitimate release of the extracurricular Dogs And Sheeps album by PINK FLOYD as Live From The Los Angeles Sports Arena, in tandem with the Record Store Day 2026 celebration. Editor/Publisher Michael McDowell follows the crew of the space shuttle on their recent journey to The Dark Side Of The Moon 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.

EXPERIMENT IN METAPHYSICS,

PART TWO -

Perry Leopold 

(Gear Fab)

Jordan Christopher knew when to say no.

In the 1966 motion picture, The Fat Spy, the late composer, vocalist, actor, Wild Ones co-founder and Youngstown, Ohio native cautioned of the dangers of materialism in the opening number, People Sure Act Funny. Accompanied by some ambitous, Leadbelly-inspired twelve-string guitar from Chuck Alden, that track has long been hailed as a forerunner of the solo acoustic movement that increasingly availed itself in the folk genre at the time. 

Unlike Christopher, the Philadelphia-based composer and vocalist Perry Leopold threw lyrical caution to the wind in his like minded endeavors. In spite of the red flags borne of experience, as articulated by Abraham Sofaer as the Swami in the Monkees' 1968 motion picture, Head (and underscored decisively by his concluding observation, "Or should I speak, since I know nothing?"; a caveat that doubtlessly escaped Leopold's attention), Leopold plunged head first into the abyss.

Buoyed in part by the cavalier perspective indigenous to the so-called underground rumblings of the day, Leopold released his first such collection in 1970 as Experiment In Metaphysics. The fact that such an approach left unchecked could avail itself in close to the edge manner was evidenced by his Christian Lucifer project nearly three years hence. 

In keeping with his acclaimed academic / optimistic mission statement as curator, Gear Fab CEO Roger Maglio herein presents this final Leopold outing as an integral component of the overall legacy of the genre. Leopold (who passed away in 2024) had preserved the session tapes (recorded in a shoe repair shop in 1970), with with the intent of their being an adjunct to his earlier release.

The material speaks for itself. Using ambiguous lyrical imagery as a distraction of sorts, the titles of several of the numbers nonetheless pretty much articulate intent: White Clouds Of Embers, The Prophesy, View From Within, Lookin' For Another World, etc. 

Hank Williams once sang of traveling down the Lost Highway. In turn, the Hollies lamented their journey down a Long Dark Road. But unlike those tales of wisdom, Leopold's journey was one that left unchecked could lead to a dead end. Proceed with caution.

LIVE FROM THE

LOS ANGELES SPORTS ARENA -

Pink Floyd (Columbia)

"The memories of a man in his old age are the deeds of the man in his prime".

So noted Pink Floyd in Free Four, a most encouraging return to form cut from their 1972 Obscured By Clouds album for the Harvest label. A return to form in that the album followed several relatively challenging years in terms of songwriting in the wake of the departure of guitarist and primary composer Syd Barrett from their ranks. That move towards reinvigoration ultimately served them well, as Pink Floyd soon found themselves in the upper echelons of mainstream acclaim, where they remained for the next several decades. 

As of this writing, four of the band's six members remain active in various  capacities. Original guitarist Rado "Bob" Klose has long enjoyed a successful career in photography. Primary lead guitarist Dave Gilmour (who succeeded Barrett in that capacity in 1968) and bassist Roger Waters have both flourished as solo artists, while drummer Nick Mason has toured in recent years with the like minded A Saucerful Of Secrets (sadly, Barrett and keyboard man Ric Wright are both deceased). Nonetheless, there has been no new Pink Floyd studio project since The Endless River for Columbia Records in 2014.

Hence the memories of the deeds of the men in their prime. To that effect, a pair of  archival live albums have surfaced in recent years: 2021's Live In Venice and 2023's The Dark Side Of The Moon Live At Wembley.

Live From The Los Angeles Sports Arena is the latest in that series. Released on both vinyl and CD in tandem with the Record Store Day 2026 celebration, the album was recorded on the 26th of April 1975. The material therein had previously been issued in 1993 as an extracurricular release of sorts under the title Dogs And Sheeps.

To be certain, the venue itself was the ideal setting for the so-called arena rock that the band epitomized in 1975. To that effect, their 1973 The Dark Side Of The Moon album was in the second year of its extraordinary nineteen year consecutive run on the so-called national charts. Faithfully executed material from that album comprises the second half of this live set. 

For openers, the band took a relatively upbeat approach that in part served to acknowledge Barrett's contributions in light of his well publicized health concerns. The opening numbers Raving And Drooling and You've Got To Be Crazy did so with remarkable candor, as did the well-received Have A Cigar and Shine On You Crazy Diamond from their forthcoming Wish You Were Here album (released in September of that year).

Although the band's hardcore faithful numbers are still legion, there are no plans for another Pink Floyd studio collaboration. But given the resolve with which Gilmour, Waters and Mason have pursued their individual interests, in the words of some of the band's post-Barrett transitional releases, it would perhaps be in the best interests of the rank and file to not Meddle in such matters, instead giving them the option to sidestep The Narrow Way and open the door to the possibility of a new Dramatic Theme.

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

SMACK DAB IN A MIRACLE:  The Austin, Texas-based composer and vocalist LEEANN ATHERTON sings the praises of Jesus and augments it with an astute smattering of like minded feelgood material in her latest Rainstorm Records release, Good God.   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)

GOOD GOD - 

Leeann Atherton (Rainstorm)

If the issue of semantics is a focal point for the rank and file musicologist and record collector, then this album should definitely garner their attention.

The title of this album alone would suggest that it is comprised of Gospel material. By definition, the Gospel is the good news of Jesus Christ, as chronicled in detail in the books of Matthew, Mark, Luke and John in the Bible. 

To be certain, Good God contains a generous helping of Gospel music. But herein, the Gospel message is also augmented by so-called "songs of peace, love and unity". That is, material that takes on a more general perspective, while remaining sympathetic to the primary cause at hand. 

In any case, the Austin, Texas-based composer and vocalist Leeann Elizabeth Atherton (whose 1998 Lady Liberty album became an instant classic in some circles) delivers both with mastery and exuberance. The opener, Saved sets the stage impeccably, with Atherton executing with the abandon found in earlier renditions by LaVern Baker and Elvis Presley. 

All of which makes the segue into feelgood territory all the more intriguing. To wit, Drinkin' That Wine. Loosely based on the 1950 rendition by Bob Waiser (which in turn drew from a collection of nineteenth century spirituals that was published in 1926), the lyrical artistic license ("13,000 years", in spite of the archeologically-substantiated timeline that places the Adam and Eve acount of Genesis 3 in a setting of roughly half that duration, as well as the subjective nature of the attributes of liquor, which has prompted multiple trains of thought based upon John 2:1-11 versus I Timothy 3:3). 

Most astutely, Atherton shifted focus slightly away from the song's title with a backdrop that draws from Creedence Clearwater Revival's Born On The Bayou. In the process, she made a solid case for reiterating the mission statement of early twentieth century academician, Bascom Lamar Lunsford, whose extensive research on the subject has few peers.

Thankfully, any such perceived impasses are kept to a minimum, with the feelgood camp (further represented by her impassioned takes on Joe South's Games People Play, and the Dave Clark Five / Jackie DeShannon standard, Put A Little Love In Your Heart) meshing quite well with the purist perspective championed in the Selah Jubilee Singers' 1941 signature 78, I'll Fly Away, as well as How Great Thou Art (the adaption of Carl Boberg's 1885 poem O Store Gud, which was also covered in 1960 by the aforementioned Elvis Presley, and perhaps most famously by George Beverly Shea). Atherton then states her case most decisively via three like minded originals: Joy, Call On The Lord and Smack Dab In A Miracle.

The proceedings draw to a most sublime conclusion with a Leeann and Austin Storm Atherton duet on Angel Band. Earlier renditions by the Stanley Brothers, Emmylou Harris and the Monkees each set a very high standard, commensurate with the subject matter at hand. Not surprisingly, Atherton rose to the challenge triumphantly. To be certain, Good God gets the job done in a most inspirational way.

MY VOICE -

Laura Chavez (Ruf)

During the so-called Golden Age of Instrumentals, it was often noted that many a musician learned to play guitar by studying the instructional albums produced by the Ventures and the Kingston Trio.

Prior to running its course, that movement began to diversify. Lavishly orchestrated singles began to take center stage, as typified by classic singles from Raymond LeFevre, Nick DeCaro, Hugo Montenegro and Paul Mauriat.

Although she draws her inspiration from a variety of sources, the San Diego, California based composer and guitarist Laura Chavez is most assuredly a firebrand whose mission statement stands in solidarity (however unintentionally) with that of the Ventures. To that effect, My Voice showcases a variety of original and cover material to underscore the point.

In the latter category, My Voice opens with a faithful reading of Creedence Clearwater Revival's Born On The Bayou. Dedicated to her father Tony (a self-professed devotee of the former Golliwogs' work), Chavez's rendition is at once faithful to the original while reflecting her own inspiration. 

In turn, Southern California's beloved Blasters are saluted with a spirited take on their stage favorite, So Long Baby Goodbye. Therein, Chavez does a remarkable job of instrumentally simulating the trademark intense and passionate vocal delivery of Phil Alvin, complete with a healthy dose of Bob Bogle-inspired power chords and a bit of Dave "Baby" Cortez-like keyboard flourishes from Lea Worms to bring the mission statement full circle. The mid-tempo take on Booker T. And The M.G.s' Chinese Checkers follows suit impeccably.

Perhaps the only anomaly within the proceedings is the slow blues take on the traditional La Llorona. Included at the insistence of label head Thomas Ruf (in part keeping with the label's overall mission statement), Chavez rallied to the cause only after a pause for reflection to make certain that she was in solidarity with the results. 

Thankfully, original material such as Mind Your Step, Wanderer and Mamba Negra brings a much welcome element of diversity to the proceedings; an attribute that is often in short supply within those circles. 

"I had to find a way, with my guitar as the primary voice to communicate the same things my favorite singers were able to communicate through true songs with hooks, melodies, and most importantly, my own voice and personality", Chavez said.

To that effect, with My Voice, Chavez's words ring loud and clear.

SECRET ADMIRER -

Jeanne Gari (Original Cast)

Some artists celebrate, while others contemplate.

On one particular weekend around the turn of the century, the city of Reno, Nevada hosted one of its frequent large scale celebrations. Visitors to the city were greeted by (among other things) loudspeakers along its main thoroughfare, which were broadcasting at high volume on repeat play the monster classic 1966 Warner Brothers single, Who Am I by Petula Clark.

The choice of material could not have been more ideal for the occasion. During her highly productive run at Warner Brothers, Clark released a most impressive string of singles and albums that highlighted relentless optimism from a cerebral perspective. There was cause for celebration in Reno, and Clark's single fit the bill perfectly. 

Conversely, under the stewardship of Jeanne Gari, Who Am I assumes a contemplative atmosphere, losing nothing in the translation. While Clark proclaimed the answer with her trademark self assurance, Gari herein poses the question not from the standpoint of diffidence, rather (in part) out of intellectual curiosity.

That relative propensity for quaintness provides a recurring theme of sorts throughout the fifteen tracks on Secret Admirer, Gari's second offering for the Original Cast label. To wit, the references in Peter Allen's Pretty Pretty reflect a wide eyed optimism with regards to weekend clubbing and Mick Jagger posters, despite Allen's portrayal of the subject matter in the past tense. Likewise, Robin Ward's 1963 Dot label signature single, Wonderful Summer makes a transition from reflectiveness to the best is yet to come in Gari's eyes. Her profession of solidarity with Cilla Black in the latter's Step Inside Love brings that perspective full circle, as does her magnificent reading of the beloved and legendary Revelers' January 1930 sublime Victor label 78, A Cottage For Sale.

Perhaps the lone deviation from this perspective comes from Gari's interpretation of the late Meri Wilson's 1977 GRT label signature single, Telephone Man. At the time of its release, Wilson's somewhat coy delivery was sufficient to generate an atmosphere of caution in some mainstream media circles. But with the benefit of nearly a half century of hindsight, Gari sustains Wilson's momentum more in a manner befitting the plot line of many a daytime network television drama. 

As was the case with Jeanne (her 2022 debut album), this second offering includes a generous helping of original material that was composed by her husband, Brian Gari. Widely renowned for both his own solo releases (many of which have been celebrated at length in Blitz Magazine - The Rock And Roll Magazine For Thinking People) and his extensive work as a musicologist and journalist, Brian Gari reasserts herein the seemingly paradoxical aspects of their collective mission statement via such sympathetic offerings as Easier To Love, Not In Touch, When You Comin' Back Red Ryder? and the title track. 

"Paradoxical" in that the Garis have managed to sustain that endearing attribute of quaintness in their respective projects, in spite of maintaing a home base in the not exactly low key atmosphere of New York City. As Secret Admirer impeccably underscores, if Petula Clark answered her own question decisively in Who Am I, then in the words of a standout track from Jeanne Gari's 2022 debut, Secret Admirer follows suit in a manner that reaffirms We're On The Same Page.

THE GREAT DIVIDE -

Noah Kahan (Mercury)

Noah Kahan knows of which he sings.

In the vivid imagery of this double album (his fourth), the composer, vocalist and Stafford, Vermont native (however unintentionally) showcases his mission statement on multiple fronts. In terms of the material itself, Kahan presents himself as an itinerant chronicler of matters both personal and cultural. 

The presentation varies at will from a full band setting (when proclaiming developments of particular concern) to acoustic (occasionally serving as interludes to draw attention to situations which provide subtle stepping stones). The former approach works particularly well on the emotionally charged Deny Deny Deny, the introspective Doors and the title track (with its instant classic key line, "I hope you settle down, I hope you marry rich"); the latter which has already enjoyed major acclaim as a hit single (as has the album itself).

Nonetheless, with that comes a variation in intent on the title. It speaks volumes about a curious dichotomy that persists within certain factions of those who envision themselves as keepers of the flame. 

To wit, a number of those keepers found themselves somewhat disenfranchised during the protracted aesthetic slump that dogged music during the so-called AM/FM wars of slightly more than a half century ago. Relief finally came in the form of the indie movement at mid-decade, which brought a sense of roots-conscious vision that countered the self-indulgent elitism at play within the mainstream.

Slightly more than a half century after the fact, much needed additional respite from what the late, great Michael Nesmith once astutely termed The Grand Ennui has again come in the form of a highly promising singer/songwriter movement among up and coming artists, of which Kahan is an integral part. Yet the response from the aforementioned keepers has otten been one of resistance or (at best) indifference, based on the same periphery (chronology, genre myopia, et al) that characterized their perceived nemesis of a half century ago. 

In all fairness, one caveat persists that perhaps warrants additional consideration between all concerned. While many of the front line artists of the current singer/songwriter movement (Kahan included) have proven themselves to be most capable and clever lyricists, many of them also come from a perspective that does not harbor particular concerns regarding what was considerered coarse language by their forerunners. Among them, such verbiage has fallen into common, everyday usage (and indeed avails itself occasionally within this project), which continues to provide an impasse between the two camps. 

For the moment, the best course of action seems to be to take the high road by highlighting and encouraging the common ground. Or as Kahan astutely put it herein, "I'll pray for you, be in pain for you, I'll leave the Porch Light on". 

KISS ALL THE TIME.

DISCO, OCCASIONALLY -

Harry Styles (Erskine / Columbia)

Flourishing in a solo career after a protracted season as part of a successful group is not always a given. 

Some artists managed to sustain their momentum, such as Brian Wilson of the Beach Boys or David Ruffin of the Temptations. On the other hand, the best intentions of Highway 101's Paulette Carlson or William Lee Golden of the Oak Ridge Boys did not quite live up to their earlier group endeavors.

In the case of Harry Edward Styles, both he and fellow One Direction alumnus Niall James Horan have managed to flourish as solo artists since the quintet called it a day in 2016. Not content to rest on their respective laurels, Horan and Styles have both made a concerted effort to produce first rate solo material. 

Styles' most recent outing finds him increasingly diversifying his portfolio of inspirations. To wit, the album's opener, Aperture (a term occasionally invoked in music circles in reference to the proper positioning of the mouthpiece of a horn) underscores the cerebral nature of the project, augmented by a backdrop straight from the Kraftwerk catalog. 

In turn, American Girls draws from the classic template of a Sunrays or Hondells slice of relentles optimism. It is then rendered with deliberate understatement to underscore the point for a target demographic that may not yet be familiar with those inspirations. 

Indeed, the Redditch, Worcestershire native is part of a growing contingent of front line artists who are reaching out in solidarity to their inspirations. Their numbers are arguably led by composer, vocalist and avid record collector Sabrina Carpenter, although that inspiration can also be found in abundance in the recent works of Sienna Spiro, Bruno Mars, Olivia Dean and others. 

Styles runs the gamut of revisionist history throughout the remainder of the proceedings, Highlights include the dramatic semi-narrative Are You Listening Yet? (complete with a Pink Floyd-tinged interlude), the new wave vibe of Taste Back and the rollicking Pop. 

To be certain, a veteran musicologist and / or record collector would do well to investigate. In the words of one of Styles' earlier triumphs, Kiss All The Time. Disco, Occasionally is but a Fine Line between the two camps.

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.