James Taylor's seventh album and last new recording for Warner Bros. is notable for producing his biggest self-written hit in four years, "Shower the People" (number 22 pop, number one easy listening). Bobby Womack's "Woman's Gotta Have It" was the album's only cover, and elsewhere Taylor took on a surprisingly rough set of issues in his typically gentle style, including "A Junkie's Lament" and "Money Machine." There were also reflections on being a "Family Man" even if, due to his peripatetic touring life, "Daddy's All Gone." Guest stars included Art Garfunkel, who harmonized on "Captain Jim's Drunken Dream," and Stevie Wonder, who co-wrote and played harmonica on "Don't Be Sad 'Cause Your Sun Is Down." On the whole, a respectable effort for an artist who was evolving into more of a craftsman than a virtuoso.

Due to her youth (16 when she first hit Myspace, 17 when signed to an imprint of EMI, and 18 when her debut album came out), perky-cute looks and extremely British diction, singer/songwriter Laura Marling got a lot of comparisons to Lily Allen in her early buzz, but the quietly compelling Alas I Cannot Swim is not at all a frothy pop confection. A folk-tinged AAA pop record based on Marling's alluringly husky voice and graceful acoustic guitar, Alas I Cannot Swim would be more aptly compared to the likes of Feist, Keren Ann, or Regina Spektor. (In the album's press kit, Marling reveals her primary influence to be Bonnie "Prince" Billy, which also seems appropriate.) Although not to draw too forbidding a comparison, opening track and first single "Ghosts" is most strongly reminiscent of Joni Mitchell circa For the Roses, both in Marling's expressive vocal phrasing and the expert shifts in the arrangement between solo acoustic passages and full-band sections, not to mention an excellently deployed string section. That old-school '70s singer/songwriter vibe predominates throughout the album, in fact.

Complete your journey to the heart of smooth jazz. Following on from Pacific Cost Highway and Ocean Drive comes the final instalment in the jazzfm records Road trilogy. Featuring more smooth jazz favourites as featured in many of jazzfm’s daytime shows, including Fourplay, Brenda Russell, Kirk whalum, Al Jarreau, Paul Hardcastle and the very sought after and previously unreleased track Theme from Love Is Not Enough (Live Version) by David Sanborn.

Besides being noteworthy as an astonishingly good all-covers album, Kicking Against the Pricks is notable for the arrival of a new key member for the Seeds, drummer Thomas Wydler. Besides being a fine percussionist, able to perform at both the explosive and restrained levels Cave requires, Wydler also allowed Harvey to concentrate on adding guitar and keyboards live as well as in the studio, a notable bonus. Race reappears briefly to add some guitar while former Birthday Party cohorts Rowland Howard and Tracy Pew guest as well, the latter on some of his last tracks before his untimely death. The selection of songs is quite impressive, ranging from old standards like "Long Black Veil" to everything from John Lee Hooker's "I'm Gonna Kill That Woman" and Gene Pitney's pop aria "Something's Gotten Hold of My Heart." Matching the range of material, the Seeds are well on their way to becoming the rock/cabaret/blues showband of Cave's dreams, able to conjure up haunting, winsome atmospheres ("Sleeping Annaleah") as much as higher-volume takes (Roy Orbison's "Running Scared," the Velvet Underground's "All Tomorrow's Parties").

This generously programmed disc provides excellent value and outstanding performances of both major and lesser-known masterpieces of French choral music. The Fauré Requiem has been recorded many times, and several excellent versions of the original orchestration are available on disc. This one is among them, owing to John Eliot Gardiner's experience and perfectionist mastery of details overlooked by less-successful choral conductors. The real bonus here is the inclusion of the popular but very difficult Debussy and Ravel chansons, and the rarely heard but eminently worthy little part songs by Saint-Saëns. These pieces are a lesson in how to achieve maximum effect with the simplest materials.

Recorded live in Miami / Florida late 1973.

Way Down in the Rust Bucket is an upcoming live album and concert film from Canadian-American rock musician Neil Young and his band Crazy Horse, to be released on February 26, 2021. It is Volume 11.5 in the Performance Series of Neil Young Archives.

Tuscaloosa is an 11-track live album from Neil Young and The Stray Gators, recorded at the University of Alabama, Tuscaloosa on February 5th 1973. The Stray Gators backed Neil occasionally in the ‘70’s and are Tim Drummond, Kenny Buttrey, Jack Nitzsche and Ben Keith. The album was produced by Neil Young and Elliot Mazer and mixed by John Hanlon. It is mastered by Chris Bellman at Bernie Grundman from the original analogue tapes.

Borrowed Tunes II is a tribute album to Neil Young, released October 16, 2007. The album features a variety of Canadian musicians covering songs written by Neil Young.

Futurismo proudly present the release all hardcore Devo fans have been waiting for: Art Devo 1973-1977, a lovingly packaged box set housing rare, unheard and obscure mind blowers sourced directly from the vaults of The De-Evolution Band. This anthology takes you from the bands initial conception in Akron, Ohio to the moment before the world woke up, in a collection of sonic and visual art that captures Devo at the dawn of industrial death.

Drummer Nicko McBrain kicks off Iron Maiden's 13th studio record with an uncharacteristic one-two-three-four before launching into the rousing opener, "Wildest Dreams." This bar-band sensibility permeates Dance of Death's first three refreshing yet unremarkable tracks before shifting into the more familiar fantasy rock of previous releases. That shift begins with the remarkable "Montsegur," a brutal, melodic assault that recalls the group's glory days and showcases lead singer Bruce Dickinson at his venom-spitting best. The anthemic "New Frontier" is a musical sibling to the band's 1982 classic "Number of the Beast" and eclipses any doubt about the band's ability to keep up with the phantom specter of age. Despite the dark imagery and the ferocity of the performances, there's a looseness to the record that conveys a surreal sense of fun…