Tнεo Tяαvis - Hεαяt Of Tнε Suи (2001)

Everyone's favorite modern prog. saxophonist decides to get cooking John Coltrane-style, ensuing in tasty treats for new and old jazz addicts alike. Yummmmz!

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Octobεя Pяojεct - S/T (1993)

Shimmering early 90's alternative folk pop-rock with a New Age touch here and there, distinguished in twelve gorgeous tracks via great arrangements, performances and the unbelievably sumptuous, yet powerful voice of one Mary Fahl. AMG (All Music Guide) gave this record a pathetic 1 1/2 stars out of 5 for "predictable naturalistic imagery" on the lyrical front, but guess that shows how much they know about good music eh?

If you like distinctive records that don't fit too easily in a box and enjoy the sort of pleasure one receives listening to classic records that even your Indie friends have overlooked, then this debut might just be the set of cuts you're looking for.

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Eяic Tagg - Drεamwalkiи' (1982)

Classic early 80's Westcoast, somewhere between Ambrosia and Toto stylistically but never anything less than warm and, as the title implies, dreamlike at times. Mr. Tagg had become somewhat popular in L.A. circuits due to his vocal contributions to guitar extraordinaire Lee Ritenour's 1981 classic record Rit, and in turn the man produced this wonderful set of songs that bring out the best in this bloke. Groovy stuff!

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Faτεs Waяиiиg - Iиsidε Ouτ (1994)

An idiom like "progressive" metal has always seemed rather silly to me, if for nothing else than I've run across more innovative metal albums without that sort of label than those bearing it. Excessive technicality doesn't always lend itself to solid songwriting nor give you a backstage pass to compelling atmosphere, so why bother puffing out your chest as if it were some kind of war medal?

That being said, "progressive" metal wouldn't exist without this particular ensemble, for better or for worse. Unlike the stream of inevitable imitators that followed in the 90's though, they've never cut a metal record since 1983 that has been anything less than listenable. In particular, I consider this 1994 release the hallmark recording of their second decade and an exciting taste of what Ray Adler and co. could do in a more melodic, less-thrashy context. Every track is a smorgasborg of blistering guitar, punctuated drumming and killer leads on both the vocal and bass fronts, and a few cuts have even become melodic metal classics as time's gone on ('Island In The Stream', 'Monument').

Immersive and surprisingly unpretentious, Iиsidε Ouτ is a gem best not forgotten in the winding annals of metaldom.

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Ѕτevε Hαcкεττ - To Wαtcн Tнε Sτoямs (2003)

Everyone's favorite Genesis guitarist has had quite the solo career over the last forty years, and is considered one of the most "technically" skilled on the planet as far as playing goes. If I were to pick out a favorite release from that vast body of wonderful work though, I'd have to go with this post-2000's sucker punch of a record. It's dark, interesting and full of a strange sort of life that gets it leaping right off your speakers.

From the gorgeous middling ballad 'Rebecca' to the proggy. pop-rock of 'Brand New' and through the industrialized Talking Heads tribute 'The Devil Is An Englishman', it's rare to see an artist at the top of his creative form at this late point in his career. My recommendation for this one is quite high fellas: Stevie's voice has gotten better with time, his playing more spastic and daring, and his influences broader as he's come of age. To Wαtcн Tнε Sτoямs is the summation of a lifelong musical aspiration to evolve and grow beyond sterility, and I'll be damned if it isn't a glory to behold.

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Jαguαяεs - El Equilibяio Dε Los Jαguαяεs (1996)

Bloody swell debut from one of Mexico's best alternative rock institutions, and probably sounds even more potent to one's ears I 'xpect if you actually know any goddamn Spanish.

Buenas noches amigos.

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Lεoи Waяε - Mooи Ridε (2008)

The man who single-handedly crafted the sound of artists such as Marvin Gaye and Minnie Riperton back in the day hits the ground running with this late-noughties witching hour escapade, complete with velvet grooves, bongo percussion, wah-wah bass and slick licks. Although our boy Ware has never been a vocal giant, jazzy Quiet Storm gems like 'A Whisper Away' and 'Smoovin' are right at the top of the neo-soul pyramid, and it's the sort of mood music that's ideal for downtown drifting. Dou itashimashite!

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