Album Reviews

File this one under, “Reborn under a good sign.” Craft Recordings recently announced a Deluxe Edition release of In Session, the legendary December 1983 collaboration between the late, decidedly great blues guitar icons Albert King and Stevie Ray Vaughan, as an expanded 180g 3LP set on October 18, 2024 — as in, tomorrow! This historically important live performance — culled from King and SRV’s early-1980s joint TV appearance together in Canada — will be available in its entirety in various formats, but the best way to cue this one up is most definitely on vinyl. Read on to see AP editor Mike Mettler’s listening impressions of this new collection, what its three first-time-on-vinyl tracks are and how they sound, and what the SRP is for this new tri-gatefold set. . .

Why this elegant-sounding Chicago based band steeped in the best of 1970s folk/rock chose to name itself after an obscure, and pretty much ignored fish--a trout relative (Salvelinus malma) that is not pursued either commercially or as a sport fish--is a question I can't answer. Naming your band after a fish is odd--doubly so when it's one that makes it sound as if you're talking about a person instead of a group, as in "Have you heard Dolly Varden?" "No. Who is she?" Or another response: "Dolly Parton? No, but I heard she did a version of 'Stairway to Heaven'! What was she thinking?"

The acclaimed hybrid North Carolina/New York four-piece band The dB’s were on the leading edge of the gradually growing indie-rock movement as the calendar turned to the 1980s. Today, we are celebrating the first-ever U.S. vinyl edition of their highly influential January 1981 debut LP, Stands for deciBels, which is set for release by Propeller Sound Recordings next Friday, June 14. Read Mark Smotroff’s review to see why Stands for deciBels continues to stand tall as an influence on much of the music we listen to on vinyl today, and why this new domestic LP version belongs in your collection. . .

This record reminds me of the first Talking Heads album, '77 The music kicks in a stilted sort of way; the front man is more weird than powerful, but draws skillfully on the music for his punch, so that his oddball catchphrases (many of them about everyday things like cities, buildings, and doing a good job, lending a certain Richard Scarry earnestness) are driven into your head. He doesn't exactly chant, but it feels like he does. The album is actually more “good” than it is “fun to listen to”-I keep having to make myself put it on. But I'm often glad I did. But I don't listen for all that long.

Today, Houston, Texas seems like one of the last places on earth a bluesman would want to call home (send those emails!), but Sam “Lightnin' “ Hopkins called it home, once he left his small town birthplace, nearby Centerville (population under 1000). His first Houston foray, sometime in the late 1930's, where he accompanied his cousin, the blues singer Alger Alexander, was a bust, so after working on a railroad and singing in the streets he returned home to Centerville.

The veteran Irish singer Mary Black is probably better known among American audiophiles than among the general music-loving populace because her recordings are exquisite sounding, audiophiles tend to dig chick singers, and for some reason Black has never received major radio airplay.