After more than 1 billion streams, 800k records sold and sold-out world tours, the duo with the mythical cross are back with a stunning new album Hyperdrama. It includes 'One Night / All Night' starring Tame Impala and 'Generator'.

Spooky Two is this British blues-rock band's pièce de résistance. All eight of the tracks compound free-styled rock and loose-fitting guitar playing, resulting in some fantastic raw music. With Gary Wright on keyboards and vocals and lead singer Mike Harrison behind the microphone, their smooth, relaxed tempos and riffs mirrored bands like Savoy Brown and, at times, even the Yardbirds. With some emphasis on keyboards, songs like "Lost in My Dream" and the nine-minute masterpiece "Evil Woman" present a cool, nonchalant air that grooves and slides along perfectly. "I've Got Enough Heartache" whines and grieves with some sharp bass playing from Greg Ridley, while "Better by You, Better Than Me" is the catchiest of the songs, with its clinging hooks and desperate-sounding chorus…

Altoist Bobby Watson's debut for the Blue Note label used his future group name Horizon but was actually more of a transition band recorded right before Horizon's personnel became stabilized. Most notable is the fact that Watson utilizes two up-and-coming players (trumpeter Roy Hargrove at the beginning of his career and trombonist Frank Lacy) in addition to a top-notch rhythm section comprised of pianist John Hicks, bassist Curtis Lundy and either Kenny Washington or Victor Lewis on drums. Their reportoire on this disc is quite fresh (five of Watson's challenging originals, Pamela Watson's "And Then Again" and Billy Strayhorn's "Blood Count") and the advanced hard bop solos are full of spirit and unpredictable ideas.

Album number seven and St Vincent continues to thrill, educate and be innovative. Her first fully self-produced album (having co-produced every one of her previous efforts), All Born Screaming is St. Vincent at her most primal. Featuring Clark leading “a curated group of rippers” through the brawny “Broken Man,” the mordant catwalk sashay through the deafening assault of self-loathing that is “Big Time Nothing,” the sublime, elegiac earworm “Sweetest Fruit," All Born Screaming is equal parts spiritual desolation and rapturous acceptance. “If you’re born screaming, that’s a great sign,” says Clark, “because it means you’re breathing. You’re alive. My god. It’s joyous. And then it’s also a protest. We’re all born in protest in a certain way. It’s terrifying to be alive, it’s ecstatic to be alive. It’s everything.”

Is there anything better than being a Dead Head when one of your favorite shows is officially released in its entirety? We'll double down on your sentiments WolfmansBrother, with DAVE'S PICK VOLUME 50: PALLADIUM, NEW YORK CITY, NY 5/3/77, and we'll bring the fire extinguisher to cool you off after you listen to Betty Cantor-Jackson's complete recording. Don't want the party to end? We'll stoke those embers with a few hot tracks from the first set of 5/4/77. Dave's Picks Subscribers score the monstrous second set from 5/4/77 featuring "Scarlet>Fire," "Terrapin," 'Playing In The Band," "Comes A Time," and more. Woowee!

"The Complete Bearsville Albums Collection" houses 11 Todd Rundgren studio albums inside a wonderful 13CD clamshell box. This boxset showcases the complete collection of Rundgren’s finest work released on the exceptionally cool Bearsville label; all studio albums apart from the epic double live set Back to the Bars, all solo, no Utopia LPs.
A pop savant who fastidiously avoided easy categorization throughout the course of his career, Todd Rundgren straddled the gap separating a mainstream star from a cult figure. Rundgren had plenty of hits in the 1970s and '80s, many of them becoming enduring contemporary standards, such as the Carole King pastiche "I Saw the Light," the ballads "Hello, It's Me" and "Can We Still Be Friends," plus the goofy novelty "Bang on the Drum All Day." These hits displayed his sharp commercial instincts, impulses he'd wind up subverting and tweaking on such heady '70s LPs as Something/Anything, A Wizard, A True Star, and Todd, records at the core of a discography…

This five-disc collection from London's JSP Records brings together 126 sides that Lightnin' Hopkins tracked for the Aladdin, Modern/RPM, and Gold Star labels at the very start of his recording career. Included are the Texas bluesman's first hit, "Katie May" from 1946, "T-Model Blues" from 1949, and arguably the most startling Hopkins composition, the powerful "Tim Moore's Farm," also from 1949. Most of the tracks are Hopkins solo, playing either acoustic or electric guitar, but he takes a turn at the organ for "Organ Boogie," a track that shows the same adventuresome liberties with tempo and time that mark all of his work, whatever the instrument. Since his approach and style to the blues never altered throughout his life, a case could be made that these first recordings are the ones to get, but at an astounding 126 tracks, this set is mind-numbing overkill for all but the most devoted fan.

This album features reworked versions of his golden oldies and three new pieces. The result of the new orchestration is a modern-sounding remix album, rather than a definitive greatest hits.
The music itself, as a collection of greatest hits tracks, is a surprising choice. There's no "Revolutions", "Chronologie 4", "Ethnicolor", "Calypso", "Oxygene 8" or "Hey Gagarin", for instance. We are treated to fresh, excellent reworkings of classics: "Oxygene 2", "Equinoxe 3" and "Last Rendez-vous". Aging tracks such as "Oxygene 4", "Chronologie 6", and "Rendez-vous 4" have all been brought up to date. The three new tracks recall Robert Miles and Orbital. They're good but there's a feeling they were left over from previous projects. There are too many synth presets sounding too clinical and lacklustre compared to the high standard of sounds used in Jarre's other studio albums. Moreover, there are finer unreleased tracks that could have been included.

This album consists of five songs from Nothing Like the Sun… re-recorded in Spanish and Portugese. This was a well-done project – the translations are good and Sting manages the Spanish and Portugese pronunciations well. However, unless you are huge fan, or enjoy hearing the songs sung in different languages, this is an album you'll want to pass over.