Maria Muldaur has been taken by Bob Dylan's music from the very start. They were on the coffeehouse circuit in New York in the early '60s, and she's had occasion to sing his praises from the stage and in Martin Scorsese's film No Direction Home. And while other artists from Joan Baez to Judy Collins have cut entire albums of Dylan's tunes, none of them feels quite like this one. Muldaur, a fine blues and jazz singer, has taken the songs form Dylan's romantic canon and has fashioned them in her own image without losing their original bite, wonder, and humor. Accompanied by her road band and a slew of guests that include Amos Garrett, Danny Caron, and Suzy Thompson, she has created a dreamy, languid, memorable song cycle.

R.E.M. began to move toward mainstream record production on Lifes Rich Pageant, but they didn't have a commercial breakthrough until the following year's Document. Ironically, Document is a stranger, more varied album than its predecessor, but co-producer Scott Litt – who would go on to produce every R.E.M. album in the following decade – is a better conduit for the band than Don Gehman, giving the group a clean sound without sacrificing their enigmatic tendencies. "Finest Worksong," the stream-of-conscious rant "It's the End of the World as We Know It (And I Feel Fine)," and the surprise Top Ten single "The One I Love" all crackle with muscular rhythms and guitar riffs, but the real surprise is how political the mid-tempo jangle pop of "Welcome to the Occupation," "Disturbance at the Heron House," and "King of Birds" is. Where Lifes Rich Pageant sounded a bit like a party record, Document is a fiery statement, and its memorable melodies and riffs are made all the more indelible by its righteous anger.

One of the tastiest concoctions of the mid-'70s jazz-fusion era, Chain Reaction finds the Crusaders at the top of their form. The compositions are both accessible and memorable, and the playing is uniformly excellent. Guitarist Larry Carlton delivers some of his finest licks and funkified rhythm work. Wayne Henderson shows there is a place in fusion for the trombone. Wilton Felder does double duty, delivering smoking saxophone lines and funky bass riffs. Joe Sample's Fender Rhodes piano provides a solid chordal foundation and great solos. And the stickman, Stix Hooper, keeps the groove solid. The band employs a variety of rhythms and tempos, and gives the members plenty of room to strut their individual and collective stuff. In fact, "collective" may be the key word here, for this is the sound of a band, not just a group of guys thrown together for a recording session. Chain Reaction was one of the albums that helped lure young, rock and soul-oriented listeners over to check out the jazz side, and should not be missed by those interested in the more accessible, funky side of fusion.

Johnny Winter begins Raisin' Cain, his ninth studio album since signing to CBS Records in 1969 (his records are now issued on the Blue Sky subsidiary), with "The Crawl," a rock & roll dance tune, and he ends it with "Walkin' Slowly," which employs a Fats Domino-style New Orleans rhythm and the saxophone work of Tom Strohman. The two songs serve to reinforce Winter's allegiance to his roots in ‘50s rock, which define him as much as his blues work. In between these bookends, he presents his usual mixture of familiar cover songs and specially written (by others, that is) material, all of which serves, as usual, to showcase his fast-fingered lead guitar playing. His slide guitar dominates "Sittin' in the Jail House," for example, while much of the disc's second side is played in a Chicago blues style that recalls his recent efforts as producer to give Muddy Waters a late-career renaissance, notably the side-opening performance of Waters' "Rollin' and Tumblin'." A notable inclusion is a cover of Bob Dylan's "Like a Rolling Stone".

Speaking of Now finds guitarist Metheny leading a retooled Pat Metheny Group; in addition to longtime core members, keyboardist Lyle Mays and bassist Steve Rodby, the Group now includes drummer Antonio Sanchez, trumpeter/vocalist Cuong Vu, and Richard Bona, who's best known as a bassist, but who functions primarily as the Group's percussionist/vocalist. The result is an exquisite album that features fresh new musical perspectives while losing none of the Group's familiar wide-ranging, melodic, always accessible sound. Most of the tracks on Speaking of Now were composed by Metheny and his longtime collaborator Mays, although three tracks were composed solely by Metheny. There's a buoyant feel to this album that is not to be confused with lightness. This is complex, intricately detailed music that reveals additional layers with each listening. Metheny seems to delight in discovering the myriad means by which his prodigiously accomplished bandmembers can provide coloration to the compositions, both within the larger group and in solo spotlights.

This is a compilation release, containing mostly B-sides, but also some A-sides from various releases by Gillan in the period 1978-1982. In terms of production, the sound is dated, because the content on this release has not been remastered. Of course, there is an upside to this, as it adds an atmosphere of authenticity. In terms of the music itself, there are a number of tracks that will probably no interest metalheads, such as the new age pop song "Fiji", the funky "Bad News" and the live jam session "The Festival of Spirits". But other than that, most of the tracks are actually hard rocking metal song, some of which are played at breakneck speed, such as "Maelstrom", the semi-punky "Come Tomorrow", "Purple Sky" and the hardrocking "Running White Faced City Boy" (famously covered by thrash metallers Xentrix).

"The Essential" Don Johnson might be stretching it. Still, Johnson's two albums had their merits, particularly Heartbeat, his debut. Of the 16 cuts on this set, nine of the ten original tracks from Heartbeat are included here. Of the tracks that come from Let It Roll, only the best make the cut, such as Johnson's versions of "Tell It Like It Is," "Your Love Is Safe With Me," "Heartache Away," etc. Johnson was smart about his singing career. He enlisted help form major-league songwriters like Bob Seger ("Star Tonight") and Tom Petty ("Lost in Your Eyes"), and of course his biggest hit, "Heartbeat," was written by Eric Kaz and Wendy Waldman. Throughout this collection there are surprises, and Johnson's voice is steady, rock-solid even. The material isn't always great, but it is never less that reliably sound pop/rock played by a host of aces, with guest stars including Bonnie Raitt, Willie Nelson, Stevie Ray Vaughan, and Ron Wood. Pretty cool, kitsch or not.

Earth is a very fresh, timeless work. It's difficult to believe that it was recorded in 1973. The music here is an early example of "New Age" and ambient music and I believe Vangelis to be an important pioneering composer of the genre. There is also a combination of some "World Music" or ethnic music on this album. He was at his most dynamic with this work and he dabbled in many different styles. I realised recently that as well as playing a variety of keyboards he played percussion too and performed with some ethnic instruments on the album, including the flute and tabla.