Joe's Garage was originally released in 1979 in two separate parts; Act I came first, followed by a two-record set containing Acts II & III. Rykodisc's reissue puts all three acts together on two CDs. Joe's Garage is generally regarded as one of Zappa's finest post-'60s conceptual works, a sprawling, satirical rock opera about a totalitarian future in which music is outlawed to control the population. The narrative is long, winding, and occasionally loses focus; it was improvised in a weekend, some of it around previously existing songs, but Zappa manages to make most of it hang together.

Music by Giorgio Mainerio, Giovanni Gabrieli, Giovanni Gastoldi, Vincenzo Galilei, Alessandro Orologio, Francesco Bendusi, Vincenzo Ruffo, Giovanni Bassano, Sperindio Bartoldo, Johannes Matelart (da Francesco Canova da Milano).

Cerati is known for his lead and rhythm guitar talents and for his ability to play intricate lead solos on guitar while singing in key. He released his latest album, Ahí vamos in April 2006, in which his guitar playing is featured prominently as opposed to the heavy use of electronic samplers as in Bocanada. Ahí Vamos was certified platinum in Argentina in only one day. Despite stating that the Grammys do not matter to him he attended the Latin Grammys ceremony on November 2, 2006 where he won for Best Rock Album and Best Rock Song.

Feist is the solo project of Canada's Leslie Feist, a prolific artist who has also played in one capacity or another with Broken Social Scene, Kings of Convenience and half a dozen other bands. The Reminder, her third release, comes from the same well of quiet, appealing songwriting, and delicate vocalizations that made 2004's Let It Die such a sweet treat. This one is a bit more hushed and ballad heavy, closer to Cat Power than Peaches (with whom Feist has also worked with in the past) but maintains an indie-minded blend of confessional pop, jazzy folk, and lo-fi torch songs. The comparatively upbeat single "My Moon My Man" splits her voice off into unexpected harmonies, just dissonant enough to stick in your head. It's hard to predict where her melodies are going to end up; "Brandy Alexander" starts with a simple snap-pulse, and gradually unfolds into a cathartic chorus of sweeping vocal overlays. Throughout, the record profits from a simple, unfussy aesthetic that keeps the production minimal and the emphasis squarely on Feist's cracking, wistful vibrato. Everything sounds deliberate, but not obsessed over, like an e-mailed wedding invitation. It's a low-pressure vibe, welcoming and content to linger. And linger you will. –Matthew Cooke