There's little question that Gary Hoey is a talented guitarist, capable of spinning out dizzying solos at the drop of the hat. He has a problem making compelling records, though. His fourth proper studio album, Money – not counting no less than three holiday records and a live album – starts off on the wrong note with a horridly misguided reworking of Pink Floyd's "Money" as a post-Surfing With the Alien instrumental, complete with a wah-wah melody line. Hoey never quite abandons Joe Satriani throughout the album – he really hasn't left him behind once in his career, actually – and the combination of Satch's fluid, rounded technique with a surfer aesthetic is often quite jarring, whether it's on rockers, lite-funk numbers, or melodic album rock cuts that sound a bit like the Satriani number used in the Maxell Tape commercial.

Pink Floyd will release two physical versions of their first new music in over 25 years, recent single “Hey Hey Rise Up,” which was first released digitally in April to support of the people of Ukraine. The single will be available as both a 7-inch and CD single on Oct. 21 in the U.S., with both formats boasting newly-reworked version of “A Great Day For Freedom,” from the band’s 1994 album. The Division Bell. David Gilmour reimagined the song using the original tapes, which feature Nick Mason on drums and the late Richard Wright on keyboards.

Bad record deals have plagued Motorhead's career, resulting in countless low-quality live recordings and pointless re-packagings, but 1994's Live at Brixton is one of the rare exceptions…

Courtney Pine was initially a Coltrane sound-alike, but he began to bring soul jazz, reggae, and other musical genres to the mix with his 1992 album Closer to Home, which made use of his background touring with such reggae bands as Clint Eastwood & General Saint. Since then he has eagerly brought hip-hop elements into his work, performing live with a DJ in addition to his usual combo. His 1996 album, Modern Day Jazz Stories featured DJ Pongo on turntables as well as DJ Sparki on hardware/samples. Using an Apple Mac with Logic Audio software and Pro Tools, Pine generates loops as well as multiple flute and sax parts and combines them with studio techniques that include filtering and pitch-shifting, Pine was able to create the most convincing combination of mainstream jazz and electronica/DJ culture. This combination of jazz fusion and hip-hop has sometimes been dubbed “Trip Jazz.” The DJs function very much as part of the band, throwing ideas at the players and responding to their playing much the way a percussionist might do.

Kasabian make a most welcome return with a high-octane new album fuelled by their trademark swagger. New single ‘Scriptvre’ arrives in the wake of their snappy track ‘Alygatyr’ and heralds a brave new world from Serge’s magic kingdom. Produced by Serge Pizzorno and Fraser T Smith, mixed by Spike Stent and written by Serge, ‘Scriptvre’ is one of the many standout tracks on their eagerly anticipated new album The Alchemist’s Euphoria on Columbia Records.

Collective Soul's long-awaited 2022 album release Vibrating sends the band's artistic spirit into the next stratosphere. All ten songs that comprise Vibrating positively pulsate with the boundless energy that has been Collective Soul's aural calling card for going on three full decades. From the propulsively gnarly kiss-off of "Cut the Cord" to the reflective midtempo jangle of "Take" to the heart-wrenching reality check of "Rule No. 1" - replete with a soaring string section, no less! - to the choir-backed emotional crossroads of "Where Do I Go".

ROD STEWART Some Guys Have All The Luck (2008 UK 'Deluxe Edition' 3-disc [2CD/1DVD] set - This assembled collection presents stellar tracks spanning 1971 - 1998 including a Faces favourite ['Stay With Me'], decades of solo hits, unplugged gems, soundtrack selections and more…

He may have just moved back to his hometown of Lahti, Finland after years of global living, but Jimi Tenor is far from his days of the mid-80s making noisecore with a bunch of local friends. His Beyond The Stars (2004), which is the follow-up to his 2003 genre-spanning milestone, is a gleeful horn-and-choral studded romp in 70s era jazz and the desire to resurrect awe towards space. With majestic and approachable horn sections alongside a charmingly hearty co-ed choir, Tenor has painstakingly crafted an album that is both musically reflective and relevant today. His darling (and nearly kitsch) fascination with space themes is illustrated through song titles, lyrics, recording treatments and effects ("Take Off", "Miracles"). Tenor disallows the space theme to become juvenile by basing his complex and mature compositions in orchestral-sounding instrumentals and sturdy lyrics…