Recorded in 1972 and released in 1973 with Herbie Hancock, Stanley Clarke, and Jack DeJohnette, Joe Farrell's Moon Germs was a foray into the electric side of jazz. On the opener, "Great George," Farrell leads off with the hint of a melody before careening into legato streams of thought along striated intervallic paths. DeJohnette is like a machine gun, quadruple-timing the band as Clarke moves against the grain in a series of fours and eights, and Hancock's attempts to keep the entire thing anchored are almost for naught. On the title track there is more of a funk backdrop, but the complex, angular runs and insane harmonic reaches Farrell attempts on his soprano, crack, falter, and ultimately turn into something else; the sheer busy-ness of the track is dazzling. "Bass Folk Song" by Clarke, is the only thing on the record that actively engages melody rather than harmonic structures.

Kenny Wheeler has a stunning lyric imagination, apparent in the burnished luster of his flugelhorn and the subtle structures of his compositions. It’s present too in the way he picks his musical partners and constructs situations that bring out the very best in them. The quartet here includes two longstanding partners in bassist Dave Holland, a collaborator for nearly four decades, and pianist John Taylor, a regular associate in the group Azimuth. Tenor saxophonist Chris Potter, a regular in Holland’s quintet, completes the band; with lines of empathy connecting all four musicians. The absence of a drummer highlights each musician’s unique sound. Wheeler’s lines seem to dance on Taylor’s limpidly fluid piano like sunlight on water, while Potter blends a muscular assertiveness with Wheeler’s reflective tunes.

More generous than the 20-track The Very Best Of, Essential Bill Withers is a 34-track anthology that features all of Withers' notable singles, along with other highlights from the singer's albums for the Sussex and Columbia labels, from 1971's Just as I Am through 1985's Watching You Watching Me. This is a fine and extensive introduction to Withers' catalog, featuring "Ain't No Sunshine," "Lean on Me," "Use Me," "Lovely Day," and "The Same Love That Made Me Laugh." He also recorded scads of excellent deep album cuts that could not fit. In 2013, the lovingly packaged The Complete Sussex and Columbia Albums Collection – released the previous year – retailed for roughly three times the price of this set. Anyone with a serious interest in Withers' work should seriously consider that option, though it doesn't contain "Just the Two of Us," the big hit from Grover Washington, Jr.'s Winelight album.

Five Original albums recorded by the Saxophonist and Fluatist Joe Farrell for the CTi label between 1970 and 1975. Joe Farrell Quartet from ’70 is an overlooked classic of its time. OutBack from ’72 is quite esoteric modal Jazz. Upon This Rock from 74 includes the frantic ‘I Won’t Be Back’ and much sampled funky title track. Penny Arcade from ’74 and Canned Funk from ’75 are more Jazz-Funk.

The foreboding crawl of the Hammond organ is what made Van Der Graaf Generator one of the darkest and most engrossing of all the early progressive bands. On H to He Who Am the Only One, the brooding tones of synthesizer and oscillator along with Peter Hammil's distinct and overly ominous voice make it one of this British band's best efforts…

Fond of Tigers is a Canadian seven-piece post-rock instrumental band from Vancouver. An article in Exclaim! describes the band's sound: "with cacophonous explosions of percussion and guitar underlying wild strains of trumpet and violin, only to drop out for unexpected, ambient glimmers of a once-roaring piece." The group began in 2000 as a solo project of guitarist Stephen Lyons. After Lyons' pop group Beauventure disbanded, Lyons performed solo, and soon began playing along with tape loops and recorded sounds.

Through original songs and some great covers, Popa Chubby – helped by Galea - investigates Country Music, pays tribute to Gene Vincent and re-visit the sound of the Sun label! You’ll do love this trip all over the fifties and the sixties!

All of their U.K. and U.S. hits are included on this compilation. Highlights are "You're No Good," "Hippy Hippy Shake," and their fine (pre-Who) cover of Johnny Kidd's "Shakin' All Over," though even for the Anglophile, about half of this CD is forgettable, especially the dreary post-1966 stuff. This anthology includes several non-LP/rare singles and unreleased songs.

Republica essentially sound like they're stuck in 1990, when house and rave were just beginning to make their presence felt in dance-pop – which, to more critical ears, will mean they sound dated for the mid-'90s, when jungle, drum'n'bass, ambient, and all other forms of techno were finally edging their way into the mainstream. And that argument would be relevant if Republica were attempting to work in that genre, but as their eponymous debut indicated, they had no interest in hardcore techno – they just wanted to dance. Working with strong, accessible Hi-NRG beats and catchy choruses, the trio has a bright, energetic sound that is quite infectious when tied with the right melodies, such as on the hit singles "Ready to Go" and "Drop Dead Gorgeous." If they had more than one sound, however, Republica would be even more entertaining, but as it stands, the record is a stretch of pleasantly numbing dance-pop punctuated by two terrific singles.

Blues man Roy Rogers released breakthrough recordings Slidewinder and Blues on the Range in his early days for the Blind Pig label, and returns to their stable of artists with his first studio date in seven years, his latest since 2004, and his twelfth album overall. Like any evolving artist, Rogers has taken into consideration diversifying his sound while not adopting the trendiness that has crept into more commercialized blues. It seems he's taken cues from the great Charlie Musselwhite in modernizing his music with voodoo economics, teaming up with the Delta Rhythm Kings, European contemporary keyboardist Philip Aaberg, and multi-faceted saxophonist George Brooks.

It’s a shame if Zayn Malik actually believes Nobody Is Listening, because they should be. Since departing One Direction in 2015, the comparatively low-profile British Pakistani singer has steadily delivered high-concept pop albums that take risks, bare emotions and defy expectations. Mind of Mine transformed fluorescent, Frank Ocean-inspired R&B into a hazy after-hours head trip, and the heavily loaded Icarus Falls made intimate love songs into mythic voyages. Here, on his third solo LP, he finally realises his full potential as a shape-shifting pop auteur, dialling the production way up and fine-tuning his falsetto so that it melts into every bar.