Celebrating Roddy Frame on his 62nd birthday. —Ed.

While technically a band, Aztec Camera was always the creative brainchild of Scotsman Roddy Frame. On the debut LP High Land, Hard Rain, released in 1983 through Rough Trade in the UK and via Sire in the US, he made an outstanding case for himself as one of the decade’s great pop music auteurs. The album embraced intelligence and sophistication as it abandoned any pretense to a rapidly aging punk standard that spawned it, and if it isn’t perfect, 30 years after High Land, Hard Rain’s making it wears its minor flaws very gracefully.

High Land, Hard Rain opens with “Oblivious,” one of the record’s more famous tracks, though in hearing it with fresh ears after a very long absence I was struck by two elements. The first was the heights of Roddy Frame’s pop ability and at the tender age of 18; where much pop climbs to greatness in the details, “Oblivious” can be accurately assessed as an exceptionally written tune. It attains its success through sublime construction around a foundation that many well-respected songwriters twice his age had never managed to build.

The second element was Aztec Camera’s sheer level of dedication to an unabashedly erudite sensibility. This was maximal, accessible, unabashedly sophisticated Pop Music not only shirking off any tangible debt to punk but also steering far clear of the swelling tide of the synth-wave. And this relates directly to my third thought; in the bass line to “Oblivious” lays the key to so much of High Land, Hard Rain’s essence.

I’ll start by mentioning that I’m not smitten with Campbell Owens’ playing on the song, which is lightly and tastefully funk-tinged in a manner undeniably ‘80s, though my lack of regard for the bassist’s swagger hardly sinks the whole. Aztec Camera at this point functioned as a band, with Bernie Clark on keyboards and Dave Ruffy on drums/percussion alongside Owens’ bass and Frame’s vocals, guitar and harmonica, but they also operated squarely in the pop zone and lacked any significant rock gestures.

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VIA PRESS RELEASE | ​Wewantsounds is delighted to release for the first time on vinyl Brion Gysin’s cult recordings, produced by Ramuntcho Matta in the ’80s and early ’90s.

The release features the hypnotic 32-minute journey “Dreamachine,” which transforms the effects of Gysin’s legendary light art device into a mesmerizing audio experience, alongside the track “The Door,” featuring the visionary saxophonist Steve Lacy. A towering figure in avant-garde art, literature, and sound, Gysin influenced generations of creators, from William Burroughs to David Bowie and Laurie Anderson. Newly remastered and accompanied by liner notes by Gysin scholar Jason Weiss, this LP edition coincides with a major exhibition dedicated to Gysin at the Museum of Modern Art in Paris, opening Spring 2026, underscoring his lasting impact on contemporary culture.

Wewantsounds continues its exploration of the archives of French producer and musician Ramuntcho Matta with the first-ever vinyl release of these cult recordings by Brion Gysin, one of the most radical and influential figures of 20th-century counterculture. A pioneering artist whose work spanned literature, sound, performance, and visual art, Gysin remains inseparable from the Beat movement and his long-time friend William Burroughs.

Born in England and raised in Edmonton, Canada, he lived in Paris in the ‘30s, New York in the ‘40s, Tangier in the ‘50s—where Paul Bowles introduced him to the Master Musicians of Jajouka—and returned to Paris by the end of that decade, becoming a central figure among writers and artists experimenting with new forms of expression. His cut-up technique, permutation poetry, and cross-disciplinary approach influenced generations of creators including David Bowie, Laurie Anderson, Genesis P. Orridge, and Burroughs himself.

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The late Gary Young is best known as the talented and eccentric drummer on Pavement’s early records, including their breakout full-length Slanted and Enchanted. Naturally, there is more to the man’s life story, and the recent documentary directed by Jed I. Rosenberg does a solid job telling the musical side of it. Louder Than You Think: A Lo-Fi History of Gary Young & Pavement (Original Motion Picture Soundtrack) gathers various relevant aural threads into a cohesive and pleasurable package. This portraiture is out on vinyl, compact disc, and digital January 30 through Independent Project Records.

Those with a casual appreciation of the band might not grasp the reality, but Jed I. Rosenberg’s loving but non-hagiographic cinematic tribute to Gary Young makes it pretty clear that Pavement simply wouldn’t exist in the form that we now know without his crucial shaping input as drummer and producer.

Louder Than You Think was Young’s studio in Stockton, CA, the town where Pavement was formed. Based on Young’s involvement in the local music scene, Stephen Malkmus and Scott Kannberg chose his studio as the place to record Pavement’s debut 7-inch. Essentially a dual-guitar duo project, Young added drums and a guiding production principle that generated the initial subterranean buzz that first took them to Drag City and then to Matador Records.

Young’s often-entertaining, and just as frequently erratic, behavior is a major part of Pavement’s history. It can be argued that Young is the drummer for Pavement during their greatest discographical stretch. He hit the skins hard and loose, and loved drum fills in a manner that underlined his elder status in the lineup. If Young’s craziness could situate him as the Keith Moon of the band (which soon added Bob Nastanovich and Mark Ibold), his age added a curious wrinkle to the group dynamic.

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VIA PRESS RELEASE | What happens when you wake up the morning after leaving the most important rock band of all time?

Paul McCartney: Man on the Run, the intimate new feature documentary by Oscar, Emmy, and Grammy Award-winning director Morgan Neville, explores Paul McCartney’s creative rebirth after The Beatles’ breakup. The film will be released in cinemas for one night only by Trafalgar Releasing on Thursday, February 19, 2026. Tickets to see the film first, in select cinemas worldwide, are available from Wednesday 4th February at manontherun.film.

In April 1970, Paul released his first solo album, McCartney. When asked what he’d do next, he said his only plan was to grow up. Paul McCartney: Man on the Run captures Paul’s transformative decade in the wake of The Beatles’ break-up and the rise of his new band Wings. Through stunning archival footage, Linda McCartney’s exceptional photographs, interviews with Paul, Linda, Mary, and Stella McCartney, a number of Wings band members, Sean Ono Lennon, Mick Jagger, Chrissie Hynde, and more, the film examines this time through a uniquely vulnerable lens.

Paul McCartney: Man on the Run will be released theatrically in select territories worldwide. In addition to the film, each theatrical screening includes a bonus conversation between Paul McCartney and director Morgan Neville, exclusive to cinemas. All participating cinemas and ticket listings can be found at manontherun.film from February 4th at 2pm GMT / 9am ET / 6am PT. Fans are encouraged to sign up to the email newsletter for event alerts.

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VIA PRESS RELEASE | This year marks the centennial of one of the 20th century’s most important cultural icons: trumpeter, bandleader, and composer Miles Davis.

To honor Davis’ enduring legacy, Craft Recordings announces The Best of Miles Davis, a brand-new collection produced in collaboration with the artist’s estate. Available March 13th exclusively on vinyl, the album draws from one of the most defining eras of Davis’ career—his esteemed “First Great Quintet.” With John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones alongside Davis, the collection highlights such seminal mid-’50s recordings as “’Round Midnight,” “Just Squeeze Me,” and “My Funny Valentine.”

In addition to the standard release on classic black vinyl, a limited-edition pressing of The Best of Miles Davis is currently available exclusively at Target, featuring Aqua Blue vinyl and, as a special bonus, a 5”x7” artist photo of Davis. Davis’ centennial will be celebrated throughout 2026 with a wide range of cultural initiatives, live events, brand collaborations, and archival releases—all overseen by the artist’s estate. For more information, visit MilesDavis.com.

Trailblazing trumpeter, bandleader, and composer Miles Davis (1926–1991) remains one of the most influential artists of all time, whose drive to innovate never slowed during his extensive career. That pioneering spirit could be heard in his earliest days as a bandleader. A native of St. Louis, Davis moved to New York in the mid-’40s to study at the prestigious Juilliard School of Music.

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Rhino continues to release Quadio discs that seek to recapture and replicate the quadraphonic audiophile album format of the 1970s. Instead of vinyl albums, Quadio releases present the four-channel audio experience on Blu-ray audio discs with 192/24 resolution and also provide listeners with high-res two-channel stereo and, in some cases, 5.1 surround sound mixes at very affordable prices for such a bespoke product.

The discs are transferred from the original half-inch four-channel master tapes and mixed for a fully dimensional immersive experience. The releases include technical notes on the Quadio format and have beautiful visual interfaces. These new Quadio Blu-ray Audio albums are available in bundles and individually. Multiple musical genres are featured in the series, and all the releases first appeared in the 1970s. The success of these Qaudio disc releases proves the quality, viability, and continuing relevance of the optical disc format.

Three recent Quadio releases represent distinct California sounds, and two of the three discs are spin-off groups of one of the most important San Francisco groups that began in the 1960s and were both originally released on the airplane’s Grunt record label.

America’s Choice was Hot Tuna’s third studio album and the second album released by the group since Jorma Kaukonen and Jack Casady departed from the Jefferson Airplane. Hot Tuna’s first three albums were all recorded while the two prominent members of the group, Casady and Kaukonen, were still in the Airplane.

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VIA PRESS RELEASE | Jazz Dispensary marks a major milestone in 2026, celebrating ten years of crate-digging, deep listening, and spotlighting overlooked gems from across the jazz canon.

Launching the imprint’s anniversary year is a freshly handpicked rarity from Craft Recordings’ vaults: Joe Henderson’s post-bop triumph, Tetragon. The 1968 album marks the celebrated saxophonist’s sophomore effort for Milestone Records and boasts a world-class lineup of collaborators, including Ron Carter, Jack DeJohnette, Kenny Barron, Louis Hayes, and Don Friedman. Out-of-print for more than 50 years, Tetragon will return to vinyl as part of the acclaimed Top Shelf series and make its hi-res streaming debut on March 13th.

Available to pre-order and pre-save, Tetragon features all-analog mastering by Kevin Gray at Cohearent Audio and is pressed on 180-gram vinyl at Fidelity Record Pressing. A stylish Tip-on gatefold jacket, replicating the album’s original design, rounds out the package. Tetragon is the first release in a year-long slate of anniversary programming from the curators at Jazz Dispensary, with more out-of-print cult classics, groove-forward compilations, special releases, global listening events, and additional surprises set to roll out throughout 2026.

One of the most talented tenor saxophonists of his era, Joe Henderson (1937–2001) was both a prolific band leader and a sought-after sideman who played alongside the biggest names in jazz, including Herbie Hancock, Kenny Dorham, Chick Corea, and Alice Coltrane. The virtuosic Ohio-born musician launched his four-decade-long career in Detroit while attending college, before relocating to New York. Soon, he built a name for himself performing on dozens of sessions for Blue Note Records, including those for Hancock, Horace Silver, Andrew Hill, and Lee Morgan.

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Blackwater Holylight was formed in Portland, OR, but after the release of their third album, they pulled up stakes and moved down the coast to Los Angeles. The current lineup is vocalist-guitarist-bassist Sunny Faris, bassist-guitarist Mikayla Mayhew, and drummer Eliese Dorsay. On their new full-length Not Here Not Gone, out January 30 on vinyl, compact disc and digital via Suicide Squeeze, Sarah McKenna contributes synths and Camille Getz violin. The sound is heavy as it possesses an ethereal quality, hovering and roaring in a zone between shoegaze and stoner rock.

The three prior LPs by Blackwater Holylight, their eponymous debut (2018), Veils of Winter (2019) and Silence/Motion (2021), were all released by RidingEasy Records, the label responsible for the extensive Brown Acid series of compilations dedicated to ultra obscure hard rock bands, mostly domestic, a few from foreign shores, who existed and recorded from the late ’60s through to the early ’80s.

Blackwater Holylight’s sound wouldn’t fit on a Brown Acid volume, but they do lay down the sinewy scorch on their own records. In 2025, they added a four-song EP, “If You Only Knew,” to their discography through Suicide Squeeze, a new label as the band adjusted to life in a new city.

Not Here Not Gone’s opener “How Will You Feel” is appropriately echoey and thick with distortion as a synth glistens and glides atop the instrumental breaks. Faris’ vocals are urgent but atmospheric, and the track blends expansiveness and crunch with the confidence one would expect from a band with four albums under their belts.

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VIA PRESS RELEASE | Multi-GRAMMY® Award-winning Rock and Roll Hall of Fame® inductees Aerosmith have announced the release of their forthcoming Aerosmith (Legendary Edition) on March 20, 2026.

For the first time, the Boston rock legends (Steven Tyler, Joe Perry, Tom Hamilton, Brad Whitford, and Joey Kramer) have assembled the definitive version of their multiplatinum self-titled debut, Aerosmith, originally released in 1973. In an effort to finally present their unfiltered vision now, Aerosmith Co-Founders Steven Tyler and Joe Perry have newly mixed the original recordings and tapes alongside GRAMMY® Award-nominated producer and mixer Zakk Cervini (blink-182, Halsey) and GRAMMY® Award-winning producer Steve Berkowitz. As such, this fresh 2024 Album Mix of the record is the crown jewel of the robust Legendary Edition collection.

Aerosmith (Legendary Edition) will be available via Capitol Records / UMe in multiple configurations, outlined in detail below, including a 5LP Box, 4LP Slipcase, 1LP Black / 1LP Color, 3CD, 1CD, and Digital. Exclusive merchandise will also be available. Pre-order/pre-save HERE on the group’s official store. To celebrate its arrival, Aerosmith just shared “Mama Kin (2024 Mix)” as an instant grat track, kicking the energy of the original into high gear and giving fans a taste of what to expect from the newly-mixed version of the record.

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VIA PRESS RELEASE | Third Man Records is honored to announce its very special expanded edition of How Sad, How Lovely, the landmark first compilation of previously lost recordings from groundbreaking cult singer-songwriter Connie Converse.

First released in 2009 and previously only existing in extremely limited quantities, the new edition will be available on CD, cassette, and single LP vinyl, the latter joined by a bonus 7” featuring an unreleased track and exclusive remix. Production of this long-awaited reissue was overseen by Dan Dzula, co-producer of the original album and founder of The Musick Group, Connie’s other label home. How Sad, How Lovely arrives via Third Man Records on Friday, March 27. Pre-orders are available now.

Connie Converse was among the first modern singer-songwriters, a truly unique artist whose unconventional, hypnotically intimate songs were far ahead of their time. Born in Laconia, New Hampshire, in 1924 to strict, religious parents, she excelled academically and briefly attended Mount Holyoke College before moving to New York City in the late 1940s. There, she lived a quiet, bohemian life, and, by 1949, began writing a remarkable body of original songs.

Those songs were committed to tape over the next decade, as Converse began recording herself at home on a Crestwood 404 reel-to-reel tape recorder. Starting in 1954, legendary comic artist and animator Gene Deitch also began recording Converse at his Hastings-on-Hudson home, where she was a guest at salons and dinner parties hosted by the Deitch family. Converse’s haunting music blended folk, jazz, and art-song influences, with sophisticated, deeply introspective lyrics that explored themes of longing, independence, and self-knowledge, later becoming hallmarks of the 1960s singer-songwriter movement.

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Celebrating Seth Justman on his 75th birthday. —Ed.

A few words on the evolution of this review: I originally intended to write about 1977’s Foghat Live because I consider it the best live album this side of Jerry Lee Lewis’ 1964 Live at the Star Club, Hamburg, which I love even more than Roxy Music’s 1976 Viva! Roxy Music, which is guaranteed to make your ears clasp their tiny little hands and say, “Glam bam thank you ma’am!”

But then my friend Hank Dittmar who has forgotten more about music than I’ll ever know recommended this 1972 live album by the J. Geils Band, whom I saw at Shippensburg College in the late seventies but can’t really remember seeing at Shippensburg College in the late seventies because I was totally blotto on a combination of Wild Turkey and Placidyl, the latter of which I can only describe as an industrial strength memory dissolvent.

So I decided to review “Live Full House and let me tell you I’m glad I did. It ain’t Jerry Lee Lewis and it ain’t Roxy Music but man do the J. Geils Band cook. They mainly stick to the rock and R&B basics but they infuse what are of course a couple of formulas as old as the hills with so much passion you’ll find yourself jumping up and down and screaming along with Peter Wolf who can really shout ‘em out for a white boy. And when he’s not busy emoting, Magic Dick who is my second favorite Dick in rock’n’roll behind Handsome Dick Manitoba, is busy honkadonkin’ up a storm on the old harpoon. Just check out his set piece “Whammer Jammer” if you don’t believe me.

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October the last was the kickoff for Zev Feldman’s Time Traveler Recordings, which began by putting back into print albums by Roy Brooks, Kenny Barron, and Carlos Garnett on 180-gram analog-mastered vinyl as part of the Muse Master Edition series. On January 30, this program really hits its stride by reissuing Love Dance by trumpeter Woody Shaw and Double Exposure by drummer-pianist Joe Chambers. These two underrated sets are connected in interesting ways, as we detail below.

Woody Shaw should’ve been huge. For many who’ve spent much rewarding time soaking up his discography as a leader and sideman, Shaw is huge, indeed one of the defining trumpeters in post-bop jazz. But as alluded to by Bob Blumenthal in his notes for this edition of Love Dance, Shaw just didn’t get the deserved accolades when he was up and coming.

Eric Dolphy’s Iron Man was Shaw’s recording debut, after which he played in Europe for a spell before returning to the USA to join Horace Silver’s band just in time for Cape Verdean Blues, cut in October 1965 for Blue Note. European touring partner Larry Young’s Unity followed in November, and then Shaw cut material for his own set as a leader in December with Young (on piano) and such august names as Joe Henderson (who played on Cape Verdean Blues), Herbie Hancock, Paul Chambers, Ron Carter, and Joe Chambers.

Those sessions stayed in the can until Muse released them in 1983, titled first In the Beginning and for one 1989 CD edition Cassandranite, the opening cut on the album. Track two is the Young composition “Obsequious,” which gets a reprise as the second selection on Love Dance.

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