VIA PRESS RELEASE | Lakeshore Records is set to release a special vinyl version of Origin—Original Motion Picture Soundtrack on March 21 with music by Emmy® Award-winning, two-time Grammy ® -nominated and Academy Award ® -nominated filmmaker and composer Kris Bowers.

Most recently, Bowers was just nominated for an Academy Award for his score to The Wild Robot. The 1x LP on “Blue & White Splatter” colored vinyl includes full color insert. Written and directed by Academy Award nominee Ava DuVernay, Origin chronicles the tragedy and triumph of Pulitzer Prize winning journalist Isabel Wilkerson as she investigates a global phenomenon of epic proportions. The Array Releasing film is streaming now on Hulu.

Kris Bowers is an Oscar winning filmmaker, Academy Award®, Emmy, Grammy and Golden Globe nominated composer and pianist. Most recently, he scored for the Academy Award® nominated DreamWorks animated film, The Wild Robot, which premiered at TIFF and in theaters on September 27th, 2024. He won his first Academy Award® for Best Documentary Short Film for his film, The Last Repair Shop.

In addition to being an accomplished filmmaker, Bowers is known for his thought-provoking playing style, creating genre-defying film compositions that pay homage to his classical and jazz roots. His work can be heard in recent films, Bob Marley: One Love, Ava DuVernay’s Origin, Warner Bros.’ The Color Purple and acclaimed television series such as Bridgerton, Secret Invasion, Mrs. America, and When They See Us. He also won a Daytime Emmy Award for Outstanding Music Direction and Composition for his work in The Snowy Day.

You Ishihara is primarily known as the vocalist-guitarist in cornerstone Japanese underground psychedelic rock band White Heaven, but in 1997, his striking solo album Passivité was released, only on compact disc, to almost no fanfare. Alternating delicious late night vibes with terrifically bent blasts of rock, the album isn’t easily comparable to anything else that was happening at the time, or developments since, for that matter. Unsurprisingly, positive feelings toward the record have grown and with a first-time-on-vinyl reissue scheduled for February 7 via Black Editions, the music is sure to become even more esteemed.

White Heaven formed in the mid-’80s, but it took roughly a decade for the band’s rep to spread through the international underground, in tandem with fellow purveyors of Japanese psych rock like High Rise, Mainliner, Fushitsusha, Acid Mothers Temple, and Ghost, all bands from the roster of P.S.F., a label formed by Hideo Ikeezumi with connections to a record store and a fanzine.

Passivité was not released by P.S.F. but instead Creativeman Disc, a label that from inside a short timeframe emitted an impressive gush of Japanese noise and related u-ground sounds (C.C.C.C., Ground Zero, Otomo Yoshihide, Taku Sugimoto, Phew). And Passivité benefitted from a stunning aggregation of players including White Heaven bandmate Michio Kurihara on guitar for five of the album’s seven tracks, Chiyo Kamekawa of Fushitsusha on bass for four tracks, and Koji Shimura of Acid Mothers Temple on drums for three tracks.

For Passivité’s closer “For You,” a short cloud of hazy pulsing drift recorded in 1980, 16 years before the rest of the album, Yojiro Nagano played synthesizer and You’s brother and eventual White Heaven bandmate Ken Ishihara played drums, with You contributing organ and vocals to the track. It contrasts pretty sharply with what precedes it but still works as a sort of flashback snapshot that’s in keeping with Passivité’s general spirit of eclecticism.

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VIA PRESS RELEASE | Yeah, legendary drummer Ginger Baker was in a trio with Eric Clapton and Jack Bruce. But would it be sacrilege to suggest that perhaps that outfit was the not the, ahem, cream of the crop when it comes his career’s musical threesomes?

For the Ginger Baker Trio, first heard on the 1994 album Going Back Home, featured Charlie Haden on bass and Bill Frisell on guitar. And that record lived up to its pedigree with a fascinating blend of British folk, Arabic-tinged melodies, and jazz, propelled by Baker’s astonishing jazz chops on his double bass kit (punctuated by some of his trademark tom-tom fills) and shot through with Haden’s melodic bass work and those impressionistic guitar textures that could only come from a Frisell axe.

In short, if you’re a fan of any of these three guys, this album’s a must, and we’ve had it remastered for vinyl (by Mike Milchner at Sonic Vision) for its LP debut. Pressed on forest green vinyl and housed in a jacket with printed insert—limited to 1,250 copies.

VIA PRESS RELEASE | Madfish and the John Mayall Estate are proud to announce the forthcoming release of a boxset celebrating John Mayall’s remarkable career on the 7th March 2025.

This new collection of previously unreleased live concerts features sound-desk and audience recordings capturing a host of line-ups with guitar legends Mick Taylor, Harvey Mandel, Walter Trout, and Coco Montoya; drummers extraordinaire Keef Hartley, Mike Gardner, and Colin Allen; bass supremos Larry Taylor, John McVie, Steve Thompson, and horn maestros Blue Mitchell, Johnny Almond, and Clifford Solomon all featured along with many more.

Mayall’s influence and appeal was worldwide; the selection of recordings herein showcasing his timeless, singular sound. Captured from 30 incredible performances from cities including New York, Chicago, Los Angeles, Paris, Milan, London, and more, the collection spans a 25-year period and offers a comprehensive view of Mayall’s legendary live prowess.

This box set coincides with John Mayall’s much-deserved induction into the Rock & Roll Hall of Fame and was approved and fully supported by the Two-Time Grammy Nominee before his sad passing earlier this year. The Mayall estate also supplied two very special privately recorded shows for this box set, both performances coming from Gaz Mayall’s legendary club night Gaz’s Rockin’ Blues in 1981 and 1982 respectively.

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Richard Starkey, better known to the world as Ringo Starr, has just had his first number one solo album. He achieved that feat at the age of 84. From this fan of western movies and country music since he was a boy in the Wirral in Liverpool in the North of England way, the music on this smash hit album feels like a horse’s saddle that has been lovingly broken in over a lifetime of dusty rides over oft-trodden trails.

This is not just a collection of well-worn country classics played by anonymous Nashville studio veterans. This well-conceived project was helmed by producer T-Bone Burnett. For decades, Burnett has had an uncanny knack for producing roots music recordings that retain the authenticity of the genre (or genres) in which the artists he produces are working, while capturing a modern edge with freshness and simplicity.

Those recordings and this one are not over-produced saccharine country or today’s bombastic pop country committee creations. First of all, Burnett chose a small cast of roots players to provide a stripped-down welcoming base for Starr to show off his country vocal chops. The songs are heartfelt and fun, and Starr knows just how to sing them with his hang-dog plaintive croon. While the musical backing and songs are just right, it’s the way Starr duets with the various vocalists on this album that makes it more than just a collection of country songs.

The opening track kicks things off with the very accessible “Breathless” featuring the popular Billy Strings, but the tracks that really work the best are his duets with Alison Krauss on “Thankful,” and especially with the duo Lucius on “Come Back,” as well as the two tracks that include Larkin Poe, “Rosetta” (which also includes Strings) and “String Theory” (which also includes Molly Tuttle). Though Krauss has been around for years and has worked similar magic with her albums and tours with Robert Plant of Led Zeppelin, it’s the newer young roots artists here that help Starr create something vibrant and new.

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Currently based in Chicago (and formerly Charlottesville, VA), bassist, composer, improvisor, and bandleader Christopher Dammann has been on the contemporary jazz scene for roughly 15 years. The players he’s chosen to fill out The Christopher Dammann Sextet have comparable levels of experience, and on February 7, the group debuts on record with a self-titled full-length effort that’s available on limited edition vinyl (500 copies, black) and compact disc (150 copies). Released by Out of Your Head Records, the album’s blend of Dammann’s compositional sharpness and the ensemble’s advanced improvisational fireworks delivers a consistent reward.

The bulk of Christopher Dammann’s recorded output comes through his contributions to the 3.5.7. Ensemble, a size shifting outfit of which he was a constant member. They debuted as a quintet with Run… in 2010. Expanding to a septet (an octet for one track), they followed it up with Amongst the Smokestacks and Steeples, an at-times excellent 2LP set from 2014.

No matter the size, the 3.5.7. Ensemble can be thought of as a collective, even with Dammann’s constant presence, but he’s been designated as the leader of Restroy, a group that combines jazz with contempo classical and electronics. The big difference between 3.5.7./Restroy and the Dammann Sextet is the latter outfit’s focus on the bassist’s compositions, with Dammann credited with writing the entire album, although there is a simultaneous and unflagging emphasis on improvisational brilliance.

Along with Dammann’s bass, the group features Mabel Kwan on piano (he previously played in Restroy and contributed prepared piano to Amongst the Smokestacks and Steeples), James Davis on trumpet, Jon Irabagon on alto saxophone, Edward Wilkerson, Jr. on tenor saxophone and Eb alto clarinet, and Scott Clark on drums.

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PHOENIX, AZ | Canadian native, Alex Sampson is on tour in the States playing alongside Jamie Miller.

First seen on America’s Got Talent, Alex is on a mission to spread his music. Last year, Alex released the “Hopeless Romantic” EP. The seven-track body of work illuminates the nuances of his artistry. It’s the second EP of his career, and he’s taken it on the road featuring his most popular song on Spotify, “Pretty Baby.” The slow-dance vibe is a fresh take on an old school, melodic sound.

Alex has a very strong voice that he uses to blend a true singer-songwriter acoustic sound with modern pop. His energetic performances engage the entire crowd and it’s clear he won’t be merely an opener for much longer. He captivates an audience like any headliner I have seen, and it was more than evident that he had fans in the building. Although touring for his EP “Hopeless Romantic,” Alex mixes in some of his earlier tunes.

I captured his set at the Crescent Ballroom in downtown Phoenix, AZ. It’s one of the better venues in the city in my opinion because of its layout. The 500 person room allows quite the interaction with the singer. There is no pit and many artists I have seen play this room often converse with the audience. It offers a unique ability to interact with someone you have listened to, watched, or only followed online.

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Dream Theater’s sixteenth album, Parasomnia, marks a defining moment in the band’s illustrious 40-year history. With the return of original drummer Mike Portnoy alongside James LaBrie (vocals), John Petrucci (guitar), John Myung (bass), and Jordan Rudess (keyboards), this record is both a celebration of their roots and a bold leap forward in the band’s continual evolution. This reunion brings Dream Theater a renewed energy and focus, resulting in an album that is as technically brilliant as it is emotionally profound.

Thematically, Parasomnia dives into the elusive and enigmatic realms of sleep, dreams, and the subconscious. Much like the unpredictable experiences of the night, the album traverses a wide spectrum of moods, ideas, and emotions. From soothing, ethereal passages to chaotic, dreamlike sequences, each track explores night’s mysteries with poetic depth, blending surreal imagery with introspective storytelling. To me, this is Dream Theater at its best.

Dream Theater has always been synonymous with progressive metal, and Parasomnia reinforces this reputation while also pushing new boundaries. True to their classic sound, the album is packed with intricate arrangements, time signature shifts, and powerful solos. However, there’s an experimental edge here that sets Parasomnia apart from other albums in their catalog. You’ll hear everything from hard-hitting, classic metal riffs to softer, orchestral compositions intertwined with hints of jazz and electronic influences. The result is an adventurous and cohesive sonic landscape that takes the listener on a restless, dreamlike odyssey.

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Celebrating Alice Cooper on his 77th birthday. —Ed.

Could 1974’s Alice Cooper’s Greatest Hits be the best album of the seventies? It’s a perverse and ludicrous notion, I know. But when I’m in the right mood, and I happen to be in the right mood right now, there isn’t an album I’d rather hear.

And is it such a perverse notion, when you come right down to it? I would direct the reader’s attention to Chuck Eddy, the perceptive and witty rock critic who wrote the brilliant, hilarious (and very much hated by metalheads) Stairway to Hell: The 500 Best Heavy Metal Albums in the Universe. In said book Eddy puts Alice Cooper’s Greatest Hits at No. 3 on his list. That’s right, No. 3, right below Led Zeppelin IV and Appetite for Destruction.

The fact is that Alice Cooper’s Greatest Hits captures the highlights–albeit with some inexplicable omissions–of a band that melded razor-edged garage rock to grade B horror movie theatrics to create some of the most enthralling songs to emerge from your car radio in the early 1970s. I know plenty of purists who find greatest hits packages suspect. When it comes to making up “best-of” lists, greatest hits LPs don’t count. Me, I’m a populist and a utilitarian and I prefer Alice Cooper’s Greatest Hits to Alice’s other product, although Love It To Death comes a close second. It’s time we let greatest hits LPs out of their ghetto!

Put simply, I like Alice Cooper’s Greatest Hits more than any of the five albums whose tracks appear on it because Alice Cooper’s Greatest Hits does not include any of the duds that made all five of those albums so uneven. 1971’s Love It to Death was as close as Alice Cooper came to producing a masterpiece, and is my AC studio LP of choice. Billion Dollar Babies finishes a not-so-close second. As for the other three, I don’t own them. Why don’t I own them? Because I have Alice Cooper’s Greatest Hits. That’s what greatest hits albums are for.

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Vocalist-guitarist-songwriter Vashti Bunyan only released three albums, but they cohere into one of the most lauded discographies in all of British folk. The esteem accrued gradually, however, as her second record Lookaftering, released in 2005, emerged over thirty years after her first. Now, twenty years later, DiCristina Records has assembled an expanded edition of the set featuring a second disc of demos, an alternate take, and a live track. It’s an enlightening and pleasurable plunge into the evolution of an era-defining record, available February 7 on 2LP/2CD

Well before her first album came out, Vashti Bunyan released a pair of singles (as simply Vashti) in 1965-’66 under the auspices of Andrew Loog Oldham. The A-side of the first, “Some Things Just Stick in Your Mind,” was composed by Mick Jagger and Keith Richards, a connection established with pretty obvious Marianne Faithfull-ish intent that’s deepened by her contribution of “Winter Is Blue” to the soundtrack for Peter Whitehead’s film Tonight Let’s All Make Love in London.

This early material failed to gather commercial steam, which effectively ended Bunyan’s relationship with Oldham, and when she reappeared on the scene roughly half a decade later, she’d become something of a back-to-the-earth hippie, traveling to the Scottish isle of Skye with her partner Robert Lewis in a horse and carriage with the intention of joining a commune envisioned by fellow folkie Donovan.

That commune (or “Renaissance community,” as it has been called) fizzled out, but during the long and interrupted trip to Skye, Bunyan began writing the songs that shaped the Joe Boyd-produced Just Another Diamond Day, so ‘twas not a waste. But the record, issued by Philips in 1970, sank without a trace despite input from Simon Nicol and Dave Swarbrick of Fairport Convention and Robin Williamson of The Incredible String Band plus string arrangements from Robert Kirby (noted for his work with Nick Drake and others).

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