King of the Highway is the first solo release from blues harp wailer Norton Buffalo and his band, the Knockouts, since the release of 1978's Desert Horizon. Norton Buffalo is an in-demand studio musician who has played on numerous sessions in all genres of music, highlighted by his involvement with blues slide guitarist Roy Rogers. The majority of King of the Highway is enjoyable (while occasionally predictable) straight-ahead modern blues mixed at times with an occasional hint of New Orleans zydeco rhythm courtesy of Buffalo's unamplificated harmonica. One of the main strengths of this 13 track Blind Pig date is the loose feeling brought by friends including Elvin Bishop, Steve Miller (Buffalo has been a member of his band for 25 years), and Merl Saunders, gathering together simply to jam.

Vocalist Phil Mogg, guitarist Mick Bolton, bassist Pete Way, and drummer Andy Parker formed the British space metal outfit UFO in 1969. Originally known as Hocus Pocus, the group, which took the name UFO in honor of a London club, debuted in 1971 with UFO 1…

Considering the esoteric materials that make up Moloko's unusual sound (trip-hop, funk, drum'n'bass, and a decidedly bizarro pop ethic), the group's music is surprisingly coherent and accessible. Things to Make and Do, the English duo's third full-length platter, is as strong as anything else they've done - Roisin Murphy's singing style, which combines a wild variety of voices and textures, from impassively chilly to gorgeously lilting to gleefully offbeat, is instantly recognizable and endearing throughout, while Mark Brydon's broad compositional palette runs the gamut from irresistibly straightforward rock/dance grooves ("Indigo") to highly stylized electro/hip-hop programming (the Timbaland-esque "Absent Minded Friends")…

In its simplest terms, Blondes Have More Fun is Rod Stewart's disco album, filled with pulsating rhythms and slick, synthesized textures. It's also his trashiest, most disposable album, filled with cheap come-ons and bad double entendres. Of course, that makes Blondes Have More Fun one of his most enjoyable records, even if all the pleasures are guilty. With its swirling strings and nagging chorus, "Da Ya Think I'm Sexy?" was the reason the record hit number one, and decades later, the song stands as one of the best rock-disco fusions. The rest of the record isn't as engaging, but he throws out a handful of winning tracks in the same mold, including "Ain't Love a Bitch," "Attractive Female Wanted," and the title track.

John Pizzarelli takes his nifty little act over to the folks at Telarc, and in fact, little has changed at all; if anything, the act has gotten better. The good news is that Pizzarelli shows continued improvement as a vocalist; the nasal, callow, youthful sound slowly gives way to a less naive, more rhythmically hip style in the manner of early Nat Cole. Pizzarelli was a fine, versatile guitarist from the start, and he continues to astonish at lightning tempos here. His airtight longtime trio (brother Martin Pizzarelli on bass, Ray Kennedy on piano) keeps right up, switching tempos on a dime. As you would expect, the menu consists of mostly Tin Pan Alley/swing standards from way back ("When I Take My Sugar to Tea," "When Lights Are Low," "Don't Be That Way," "Polka Dots and Moonbeams," etc.); the idiom is King Cole Trio all the way, with some Oscar Peterson when Kennedy gets rolling.

According to German theological tradition, which Bach knew very well, the alto voice was the very symbol of the Holy Ghost. Bach's three solo cantatas for alto demand enormous vocal virtuosity. Their extraordinary musical variety embraces sublime consolatory lullabies, a faithful echo of an organ concerto and the dramatic qualities of an oratorio. Andreas Scholl is the featured soloist in this reissue, backed by Philippe Herreweghe and the Collegium Vocale Gent.

Those who consider themselves Oscar Peterson completists should be aware of The London House Sessions, a generous five-LP set that focuses exclusively on the Peterson Trio's 1961 engagement at Chicago's London House. However, completists are the only ones who would want to invest in this collection; others would be better off with individual LPs of the pianist's London House performances. One such LP is the Verve Master Edition of The Sound of the Trio, which was recorded in July 1961 and contains performances of "Tricotism," "On Green Dolphin Street," and "III Wind. Although not among Peterson's essential recordings – you won't find a lot of surprises here – the material is consistently enjoyable. Peterson, bassist Ray Brown, and drummer Ed Thigpen, clearly enjoy a strong rapport, and the trio never fails to swing.

A sly and nasty riposte to domestication, Constant Shallowness Leads to Evil is a bloody-minded record, at times sounding like a cattle-prod surge delivered directly to the spine. A stocktaking of the previous four decades of outsider blare - from La Monte Young, to Metal Machine Music, to even the earliest Butthole Surfers - Coil soils their pawn-shop electronics in blood and sweat, a muscular return to industrial roots. The nominal normal track, "I Am the Green Child," stumbles along like Krautrock coupled with the Exorcist soundtrack. Singer John Balance intones a pretentious and portentous text, voice almost drown in a thick gauze of processing. After this wheezing discourse crawls to a halt, several tracks follow like the lament of a dying washing machine…

Back in the late 1960s, Free was just one of hundreds of blues-based bands that grew up under the shadow of the Rolling Stones and, later, Cream. Like Fleetwood Mac, Free came together with a little help from those twin founders of the British blues boom–John Mayall and Alexis Korner–and like Led Zeppelin, they hit lucky–and big–early on…

Born Caroline Catharina Müller in the Netherlands, she moved with her family to Germany in the late '70s. In 1980, she became a member of the girl quartet Optimal, who issued two singles. During one of the band's concerts in Hamburg, she was approached by songwriter/producer Dieter Bohlen who had just taken the continental charts by storm with his duo Modern Talking…

House of Yes: Live from House of Blues is a double live CD by progressive rock band Yes. The album was recorded on Halloween night in 1999 at the House of Blues in Las Vegas, Nevada, during touring obligations for the band's studio album, The Ladder…

Born Caroline Catharina Müller in the Netherlands, she moved with her family to Germany in the late '70s. In 1980, she became a member of the girl quartet Optimal, who issued two singles. During one of the band's concerts in Hamburg, she was approached by songwriter/producer Dieter Bohlen who had just taken the continental charts by storm with his duo Modern Talking…

The Ink Spots played a large role in pioneering the black vocal group-harmony genre, helping to pave the way for the doo wop explosion of the '50s. The quavering high tenor of Bill Kenny presaged hundreds of street-corner leads to come, and the sweet harmonies of Charlie Fuqua, Deek Watson, and bass Hoppy Jones (who died in 1944) backed him flawlessly…