New Album Roundup - Winter 2026 (Jan-Mar)

New Album Roundup - Winter 2026

Well, here we are, with the first 3 months of 2026 already behind us, winter is gone and springtime ahead. Although I haven't been posting to the blog over that time, I have been busy and listening to all the new music coming out. So, it's time once again to highlight some of the best new albums that have been released over the past 3 months (January-March 2026). I've listened to some 30+ new albums in these early months of 2026, and there have been many quite good ones, and a few that really stand out as something really special. Anyway, these are the albums that I think are notable and have liked the most thus far. 

Big Big Train - Woodcut

Have to lead-off with this, as Big Big Train is one of my favorite current bands, and they have done it again with this fantastic new release. Of course, BBT is a UK Prog band known for their beautiful pastoral melodies, soaring instrumental passages, evocative narratives, and sweeping majestic symphonic Prog, maintaining effective use of strings and horns, as well occasional bursts of heavier prog instrumental sections. BBT has now fully emerged from tragedy and turmoil earlier this decade with a new lineup that has evolved into perhaps their strongest ensemble thus far. And here, the band presents their first fully immersive concept album, 16 interrelated tracks (66 min. of music) that tell the story of a woodcarving artist, exploring the themes of creative obsession, struggle for recognition and the emotional highs and lows of the creative process. But, as always, it's the music that is most important here, and the songs play out in a wonderful sequence of beauty, style, and emotion from beginning to end, covering a variety of musical styles from beautiful melodic sections to thunderous, energetic rock. Vocals are superb throughout, led by Alberto Bravin, but each of the various vocalists in the band get their chance to shine on different songs. Overall, a wonderful cohesive album that is sure to remain among the very best albums of the year. Best Tracks: The Artist, Chimaera,  Cut and Run, The Sharpest Blade, Counting Stars. Rating: 4.5 stars.

Neal Morse Band - L.I.F.T.

The latest from prolific U.S. Progger Neal Morse is a return of the Neal Morse Band, and it is fantastic. Neal releases a lot of albums (35+ since 2000) in many forms and various collaborators, and with various degrees of success (ranging from ho-hum to the greatest Prog classics), but for me at least, his output with the Neal Morse Band has always been among his best albums, as this ensemble, with Eric Gillette (guitars), Bill Hubauer (keyboards), Randy George (bass), and Mike Portnoy (drums) joining Neal, brings out the best in them all. But after Mike Portnoy left to rejoin Dream Theater in 2024, the future of NMB was in doubt, yet here we have a new NMB album, their first since Innocence and Danger (2021) and 5th overall, and it is a joy from start to finish. It is a fully fleshed out concept album, with each song delivering a powerful punch, perfectly blending classic rock with great prog. The songs all work here and all fit together to make a most satisfying album experience, filled with great melodies and instrumental virtuosity. 13 songs (70 min. runtime), and although no epic-length tracks, there's still plenty of opportunities for proggy instrumental sections and for each band member to shine. Love this album, sure to be one of the best of the year, and best from Neal in many many years. If you've liked Neal's work in the past but haven't been impressed with his more recent albums, be sure to check this one out, as it is ranks up there with his best.  Best Tracks: Reaching, Carry You Again, Gravity's Grip, Fully Alive Part 2, Love All Along. Rating 4.5 stars

Spirergy - Whenever Forever

Third album from this UK Progressive rock outfit, which is a project of multi-instrumentalist Dave Allen, and it's a wonderful journey through 70's-style classic melodic symphonic prog. Nice blending of vocal and instrumental sections, and mix of guitars and keyboards as lead instruments. Best tracks tend to be the longer ones, where Dave gets a chance to really stretch out in extended instrumental sections. I particularly love the prevalent incorporation of acoustic instruments (piano, acoustic and 12-string guitars) amidst the electronics (electric guitars, synthesizers). Songs and styles are very reminiscent of the usual classic bands (Genesis, Yes, ELP, Rush, etc), and most reminds me of Starcastle, but also still forge their own way. Songs include a mix of shorter and longer tracks, including the epic-length (16 min) title track, and The vocals fall somewhere between Jon Anderson and Geddy Lee (for better or worst). Overall, a wonderful and very entertaining album that fans of classic Prog should definitely check out. Best Tracks: Carry Me Home, In the Small Hours, See it in Your Eyes, Whenever Forever. Rating: 4 stars 

Rope and Ladder - This Is Wild

2nd album from this Indie rock duo (Jay Clark and Ryan Dolen) from Boston, with a unique sound that I would call Power Folk or heavy folk-rock, in that their songs have somewhat of a Folk aesthetic, but are presented with a powerful, theatrical rock approach. Their songs are somewhat melancholic and uplifting at the same time. Often start off with mellow acoustic guitars before building to powerful anthemic and sometimes symphonic arrangements, and with beautiful vocals and harmonies throughout. But they also feature a variety of different styles, from the stark acoustic gloom of I Watched You Watch Him Die to the power blues of Holy Ghost, to the channeling of The Kinks in the delightful power pop title track, to the angelic Lemon Twigs-style harmonies of Still, and at other times resembling the symphonic Folk of Cloud Cult. Every song is a winner on this surprising and delightful album. Best Tracks: This is Wild, Grandfather, Fight or Flight, No Hard Feelings, Wasted on Me. Rating: 4 stars. 
  
The Dear Hunter - Sunya

This genre-defying U.S. alternative progressive pop band's much anticipated follow-up to their fantastic 2022 album, Antimai, is finally here. This concept album continues to flesh out the world presented in Antimai, featuring a similar sound palette, mixing in jazz, funk, soul textures to their unique sound. Whereas Antimai explored the physical and social structure of the city-state, Sunya ventures out beyond the city to the people and places of the outlying regions. Although not quite as sonically bold and dynamic as its predecessor, Sunya features rich and sumptuous soundscapes - there's a lot going on here - with complex, layered, and intricately detailed arrangements and instrumentation, creating lush and encompassing sonic landscapes. Once again, Casey Crescenzo's vocals, as well as the backing harmonies, are superb, with Casey's voice seeming to fit right in with whatever style of song they present. Wonderful songs throughout, from the opening Wastelands, Marauders, the most rockin' track, the 3-part heart of the album, The Glass Desert, with Glass Desert III showing a Tears for Fears-style lush pop, and concluding with the dreamy title track. A Great album, with the only complaint being that it is too short, just as the full ambiance seems to be in full swing, it's over, and we want more. Can't wait for the next phase and where they will take us next. Best tracks: Marauders, The Glass Desert I, II, III, Sunya. Rating 4 stars

Hallas - Panorama

This 4th album from Swedish prog band Hallas takes us back to the 70's. The first half of the album is a brilliant epic-length (21 min) early 70's style symphonic prog masterpiece, Above the Continuum, that is just sensational. It features everything you could want in a prog rock epic, from the gentle melodic sections to thunderous rocking, grand majestic themes, and instrumental acrobatics, with no lulls or lapses throughout its extended runtime. Takes you back to early 70's symphonic prog, and certainly with glimpses of the prog greats (Genesis, Yes, ELP, Moody Blues, etc.) abound, yet the overall style and sound is squarely their own on this masterpiece. Absolutely fantastic and sure to be among the very best epics of the year. However, for the second half of the album, they switch to 4 shorter songs and a more straight-forward 70's melodic hard rock style, driving rock with heavy riffs and catchy melodies. Still very well-done, but just not that special or interesting, at least for me. If whole album was as good as the first half, it would be one of the best of the year, but overall, still a very good album. Best Track: Above the Continuum. Rating: 3.5 stars

Legs on Wheels - Gobble

2nd album from this unique eclectic alternative progressive/art rock band from the U.K. that features a fun, energetic, all-over-the-place style, incorporating aspects of many different genres. As for what they sound like, imagine a mixture of early Split Enz (especially the vocals), XTC (quirky off-kilterness), Gentle Giant (for the progginess and complexity), and maybe some 10 cc and They Might Be Giants (for the silliness), something like that. Lyrics seem to be mostly nonsense, and the music features many odd time signatures, rhythms, and abrupt changes between sections, but still remains melodic. There's some musical magic here, and it mostly works. The album closer, Masteroid, is longer (11 min) and gives the band a chance to stretch out a bit more instrumentally, and also has some sections that resemble a more proggy Steely Dan, among other highlights. An album with lots of fun quirks and oddities. Best Tracks: Masteroid, Waiting for his Drowning, Centipede, Winner Winner. Rating: 3.5 stars

Motorpsycho - Gaia II Space Corps

Versatile and prolific prog band Motorpsycho is back and goes full-on Psych-Rock/Space rock with this latest release, with only occasional glimpses of their Prog influences (such as on The Oracle). They deliver a solid rockin' album of psychedelic hard rock propelled by repeating heavy guitar riffs, solid melodies, and soaring solos. They add some of their usual flair to the proceedings, but overall, they stick to the script of bringing back the sound of 70's psych rock with fun, jammy style for this album. Best Tracks: The Oracle, Gaia II Space Corp, TSMcR, The Great Stash Robbery.  Rating 3.5 stars

Major Parkinson - Valesa Chapter II: Viva the Apocalypse!

Norwegian Prog pop/rock. I really wanted to love this quirky genre-defying band and their mix of jazz, pop, rock, funk, prog, and metal, as their no-holds-barred approach is similar to bands I love such as The Dear Hunter and Moron Police, but sadly, I just could not. Musically this is some really cool stuff with funky complex beats, rhythms, and intricate and inventive arrangements. There's a lot going on here. But the shouty, growly, talk-singing lead vocals and annoying lyrics are terrible, and greatly detract from every song. That plus the unevenness of the album (First half or so is great, second half plummets bad, especially the extended annoying metal nonsense of Karma Supernova and Maybelline) really weaken what could have been a great album. The album then bizarrely closes with a straightforward sweet pop song (Kiss Me Now) for a weak finish. If you can get past the poor vocals and couple weak tracks, there is a lot to like about this band and album, but given the weaknesses I can't score it as anything above a good rating. Best Tracks: Superdad, Father Superior, Showbiz, Viva the Apocalypse. Rating: 3 stars 

Tigran Hamasyan - Manifeste

Exceptionally talented Armenian jazz pianist and composer goes all out on this release with an ambitious, sprawling 14 track, 72 min, album that is stylistically all over the place, featuring interpretations of Armenian folk tunes and hymns, smooth jazz, jazz-rock fusion, freeform jazz, Prog and Prog-metal, and polyrhythm math-rock, and everything in between.  Mostly instrumental, but  lyric vocals on a couple tracks, and non-word vocalizations on several more. Best known for his staccato rhythms and intricately pulsing melody lines creating dynamic technically complex compositions. At times reminiscent of the melodic jazz of Pat Metheny Group, at others more freeform or avant jazz forms.  However, due to the vastly different style and tone of the varying tracks, the sprawling album becomes a somewhat uncomfortable listen, as one listener is not likely to fully appreciate all the different styles here (for example, I didn't care much for some of the slower hymn-like tunes). This is one of those albums where best to pull out your favorites in a playlist rather than listen straight through, but there is no denying the talent here. Best Tracks: Manifeste, Ultradance, Dardahan, War-time Poem, Prelude for All Seekers. Rating 3.5 stars

Perfect Beasts - Perfect Beasts

New hard rock band fronted by everywhere vocalist-guitarist John Mitchell (Karmakanic, Frost, It Bites, Kino, Arena, Lonely Robot, Asia) that features melodic hard rock and classic rock, with just a touch of Prog. The sound is dominated by heavy guitar riffs and catchy melodies and choruses, with Mitchell's soaring vocals the best part of it. There's some pretty good songs here (but also some duds), but it seems like they are trying a bit too hard to put a heavy hard rock edge to most of the songs that doesn't always blend well with the melodies. Some nice instrumental touches, overall, quite well done, but just not a style that resonates much with me. But if you're looking for some more tuneful hard rock, this might be for you. Best Tracks: Genie's Out the Bottle, Non-Stop to the Moon, On a Curve, Undertow. Rating: 3 stars

Hamasaari - Pictures

2nd album from this French Prog band features moody, atmospheric, melancholic modern Prog. Especially adept at juxtaposing lighter acoustic melodic sections with heavier, powerful, grungey, prog-metal passages, while maintaining a somber, haunting feel.  Best Tracks: Frames, Home, Our Head Spinning, Under the Trees. Rating: 3.5 stars

Plantoid  - Flare

2nd album from this eclectic UK Prog band follows-up their acclaimed debut, Terrapath, with their own distinctive brand of modern Prog. Although they have lots of interesting moods and sounds, for some reason it just doesn't work for me. The songs don't really go anywhere or amount to much. In this case, the lack of melody or cohesive structure undermines its effectiveness, and I just can't quite get into it. Rating: 2.5 stars

Quick Hits

Soft Machine - Thirteen
Legendary UK psychedelic Canterbury scene band that evolved into a premier Avant jazz-rock fusion band returns with more quality instrumental experimental improvisational jazz-rock. Rating: 3 stars

Gong - Bright Spirit
Another legendary UK psychedelic Canterbury scene band returns with their own trippy, spacey, middle-eastern influenced jazzy psychedelia, updated with some modern touches. Rating: 3 stars

Dina Ogon - Manniskobarn
Swedish indie pop-rock. Kind of like a mellow Swedish Fleetwood Mac. Nice, pleasant. Rating: 3 stars

Squeeze - Trixies
Veteran UK new wave pop band are back (after 9-yr gap) with this interesting concept album about the people in and around a local bar. Overall, some quite good songs, some unmemorable songs, in a variety of styles. A nice listen, but just never really soars. Rating: 3 stars

Weedpecker - V
Polish rock band delivers cool, compelling space-rock/psych-rock. Somewhat reminscent of Motorpsycho, but also with their own style and sound. Rating: 3 stars. 

Buck Meek - The Mirror
Solo album (his 4th) from Big Thief guitarist-backing vocalist Meek. Nice, basic lo-fi sound, but overall, the songs are a bit lackluster and underdeveloped, and Meek's meager vocals don't help. Just OK. Rating 2.5 stars.  

Melissa Etheridge - Rise

Solid album from this veteran American singer-songwriter. Shows she can still really rock and deliver powerful, emotional classic rock and Americana. Rating: 3 stars 

Angine de Poitrine - Vol II

Lastly, I feel I need to weigh on this outrageous French-Canadian duo who have become internet sensations with their wild circus costumes and look, and intricate microtonal math rock sounds. First, you have to admire how they have made themselves essential pop culture icons, and  I applaud their ability to bring attention and acclaim to what is basically a very esoteric musical form that normally would only be of interest to music theory nerds. However, it still is basically a novelty act, and one that would seem to have a quite short lifespan in the public eye. The act, both visually and musically, wears thin pretty fast. Musically, it is different and unique, at least for a while. It sounds kinda cool at first, but then grows tedious and repetitive. It's just not very sustainable. For me, the novelty didn't even last for the whole album (or even through whole songs, as each songs seems too long by at least half). It was a chore to make it through the entire album (I still haven't made it through an entire video). Despite all the complex microtonal flourishes and rhythms, the songs are basically monotonic drones with repetitive riffs and soloing over the top. Some have claimed this to be the future of music. No. Now, it may spur the next 'bad trend' of music, as people and bands rush out to buy microtonal guitars and experiment with them, with mostly dismal results, but other than that, it will likely remain just a curiosity. Perhaps when artists can incorporate microtonal techniques to create real musical compositions, then maybe that could lead somewhere, but this as it is, is just an interesting curiosity. And as an album, it is just OK. Rating: 2.5 stars 

BB’s Rating scale:

1 star – Terrible, torturous to have to listen to

1.5 stars - Poor, not worth your time

2 stars – Fair, maybe a couple half-way decent songs, but sub-par overall

2.5 stars – Average, OK, meh, not bad but not that good either

3 stars – Good, solid album, several good songs, but not spectacular. Certainly worthy, but may not be something you come back to very often

3.5 stars – Very good album. Some stellar tracks, very enjoyable overall

4 stars – Great album, filled with great songs, one that you will want to come back to over and over again

4.5 stars – Excellent album, beyond great, superb in every way, just short of a masterpiece 

5 stars – A Masterpiece, among the greatest albums of its type, and has stood the test of time

OK, so that's what I have for the first quarter of 2026. Some really good stuff in there. What did I miss? What were your favorite new albums so far in 2026? Let me know in the comments.

New Capsule Album Reviews - Summer 2022

New Capsule Album Reviews- Summer 2022

It's time once again for a quick rundown of some recent notable album releases. So, here are brief reviews of some of the new album releases I have been listening to over the past couple months - Summer of 2022.

Dawes - Misadventures of Doomscroller.

Dawes was labelled a folk-rock band and the heirs of the '70's Laurel Canyon sound ( CSN, Jackson Browne, Eagles, early Neil Young, solo Tom Petty, etc.) ever since the release of their first album, North Hills, back in 2009. However, the band has been steadily moving away from that style and sound with each subsequent album, developing more variety and versatility of styles, delving more into indie rock, power pop, and various other sounds. And now with their 8th album, Misadventures of Doomscroller, the folk-country roots are barely evident, as the band stretches out with longer songs,  a free-er looser style, with more jazz influences as well as some somewhat progressive rock-influenced instrumental breaks. The result is, at least for me, their best album to date, and one of the best albums of 2022, a wonderful musical journey through the ups and downs of contemporary life. The core of the band has always been Taylor Goldsmith's songwriting and vocals, and he shines throughout once again, but with the rest of the band also taking more of the spotlight as well with great musicianship and song arrangements. Consisting of only 6 main songs (6 to 9 minutes each) , the album deals with aspects of life in the world today with Taylor's usual sardonic observations, and includes several longer instrumental breaks. Although the band is known for doing extended versions of their songs in their live shows, this is the first album that has included longer instrumental passages within their songs. And the instrumental extensions are more than just solos, as they represent dynamic explorations of new styles and themes, and move in different and interesting (even proggy?) directions. The album is a delight from beginning to end, offering great melodies and engaging arrangements, and encouraging many repeat listens.  My favorite song is 'Ghost in the Machine', an infectiously funky number that comes across as an unlikely mash-up of the Allman Brothers and early Steely Dan (The guitar solo even sounds like something Skunk Baxter would have played on those early albums). Whether or not you have liked previous Dawes albums, you really need to check this out, as it is quite a bit different, and wonderful, from start to finish. Thoroughly great album. Best tracks: Ghost on the Machine, It Comes in Waves, Everything is Permanent. Weak tracks: none.  4.5ó

Ryo Okumoto – The Myth of the Mostrophus

Ryo Okumoto, long-time keyboard player for progressive rock band Spock's Beard, recently released this solo album, his first in 20 years, with the help of many of his present and former Spock's Beard bandmates (including Nick d'Virgilio, Dave Meros, Ted Leonard, Alan Morse, etc.) and other special guest artists (including Steve Hackett, Michael Sadler, Jonathan Mover, Mike Keneally, Lyle Workman, and others). Thus, perhaps not surprisingly, the result sounds alot like a Spock's Beard album, but most importantly, a very good Spock's Beard album. And even though this is ostensibly a solo album, it has much more of a full band feel throughout, as the sound is not dominated by Ryo's keyboards as one might expect, but with active and key contributions from all musicians involved, with prominent and soaring guitar solos, stunning arrangements, and excellent vocals and harmonies. Although there is nothing very new or novel here, as Ryo sticks to well-travelled prog rock lanes, everything here is just top-notch and exquisitely done throughout, with great songwriting, vocals, musicianship and execution. Overall, a very fun and entertaining album of classic symphonic rock gems, highlighted by the epic-length 'Myth of the Mostrophus', a fun Monster story. Best Tracks: Myth of the Mostrophus, Mirror Mirror, Chrysalis. Weak Tracks: none. 4ó

Alan Parsons - From the New World

Here is the latest album from Alan Parsons, legendary engineer, producer, and performer. This is his 6^th solo album since the demise of the very successful Alan Parsons Project and his partnership with Eric Woolfson in the '90's, and this one probably is most reminiscent of that earlier band than any of his other solo albums, which is good news for fans. Here, once again, Parsons returns to the lush arrangements, layered vocals, and impeccable pop production he is known for. As usual, Parsons uses several different vocalists and guest artists throughout the album, including vocalists Tommy Shaw (Styx) on 'Urobouros' and David Pack (Ambrosia) on I Won’t be Led Astray, and guitarist Joe Bonamassa on Give ’Em My Love, and though the different vocalists may be a bit unsettling at first, it all comes together in a unified style that works pretty well. And the signature APP sound is present throughout, starting with the opening track, 'Fare Thee Well', one of the strongest tracks and most reminiscent of the old style. After the first few songs, however, the album becomes much mellower through the middle section of the album, with softer, slower ballads and a more stripped down sound, which gives the songs a more personal, intimate feel. However, this does drag the album down a bit as being too soft, but the songs are still pretty good. The album picks back up again near the end with a couple more strong songs, although the album ends on a weaker note, with an emotional, but rather unimaginative adaptation of the theme from Dvorak's New World Symphony, 'Going Home', which is confusingly followed by a note for note reproduction of the Ronettes 60’s classic 'Be My Baby', which doesn't fit at all with the rest of the album (and if you're going to do a cover, why just replicate the original? - no point to it). Overall, if you are a fan of the 70's and 80's Alan Parsons Project, you will find just enough to like on this album, it is a nice, easy, but non-essential listen, but if you are not already a fan, there is probably not much here that would pique your interest. Certainly not as compelling as Parsons in his heyday, but a marginally good album with enough to recommend to fans. Best Tracks: Fare Thee Well, Uroborus, You Are The Light, Halos. Weak tracks: Obstacles, Going Home, Be My Baby. 3ó

The Dear Hunter - Antimai

The Dear Hunter started out as a solo project of songwriter-multi-instrumentalist-vocalist Chris Crescenzo, releasing their first album, Act 1: The Lake South, River North, in 2006, which then grew into a full progressive rock band in subsequent albums, chronicling a continuing story in the Act Series of albums (so far, 5 albums over a ten year period). There have also been other musical projects and EPs in between those albums. Their latest album, Antimai, is separate from those previous works. I have to admit that I was not very familiar with the band prior to this album (I had heard good things about them, but had never checked them out), so this was their first full album I have listened to. And I have to say that it was not what I was expecting, but I absolutely loved it! Based on some of their previous projects, it seemed that they took their music very seriously, thus I was pleasantly surprised at how fun this new album is. It is predominantly lively, upbeat, and quite accessible. They incorporate much soul, R&B, latin, pop, jazz, and rock into the mix, with liberal use of funky horns and tuned percussion, yet the result is still undeniably prog rock. This is a concept album that chronicles a world where society is set-up in concentric rings, with the outer rings occupied by the poor and industrial sectors moving inward to the more luxurious and powerful inner rings. The album consists of 8 tracks, each corresponding to one of the rings and highlighting features of that sector. But you don't need to know or care about the concept or story to enjoy the album, as it is quite wonderful from start to finish. One of the best and longer tracks, Ring 5 - Middle Class, features multiple sections, starting with a catchy pop opening, a slower middle section, then a jazz-funk Steely Dan-esque closing section. Ring 4 - Patrol, is somewhat reminiscent of the Alan Parsons Project with its a funky beat and cool pop style. Ring 3 - Luxury starts off with some clever Hamilton-style rap vocals before leading into subsequent sections. Chris Crescenzo's vocals are very enjoyable, and quite versatile, working well in a variety of styles and moods. The album flows well and all the tracks are very well done, featuring a variety of vibrant styles, dynamics, and instrumentation, in addition to very fine vocals. One minor complaint is that it ends a bit weakly, as I was expecting a buildup to a big finish, but the album ends rather meekly and abruptly, without any real conclusion. Overall, this is a wonderful, very enjoyable album, certainly another one in the conversation of the best albums of the year. Best tracks: Ring 8 - Poverty, Ring 5 - Middle Class, Ring 4 - Patrol, Ring 3 - Luxury. Weak tracks:none. 4.5ó.

The Tangent - Songs From the Hard Shoulder

The Tangent are a jazz-oriented progressive rock band, started in 2002, with an ever-changing roster of players surrounding the consistent presence and guiding force of songwriter-keyboardist -vocalist Andy Tillson. This is the band’s 12^th album, and contains 3 long-form tracks (17-20 min each) and final short track, each in an entirely different style. The opener, The Changes, deals with life during the pandemic lockdown, and is a fine example of The Tangent’s multi-part compositional structure, a very nice track. The next track, GPS Vultures, is a jazz fusion instrumental jam that highlights the jazz instrumental prowess of the band, and is for me, the best track on the album. That is followed by the longest track (at over 20 minutes), The Lady Tied to a Lamp Post, which was the weak spot of the album, as it is repetitive and not musically or lyrically satisfying, and just drags on, bringing down the album. It deals with the homeless, is quite preachy, but doesn’t provide much in the way of insight or inspiration. It could have worked as a much shorter song, but at 20 minutes it just becomes annoying. The album closes with a brief soul, R& B number, which is quite different and refreshing after the bummer that precedes it. There is also a bonus track that is available on some versions, a cover and extended version of U.K.’s classic ‘In The Dead of Night’, which is quite wonderful, as it expands upon and adds some new dimensions and directions to this already great track. If they would have cut down the length of ‘Lady’ to a reasonable and justifiable length (6-8 minutes) and included the bonus track on the actual album, this would have been a really great album. As it is presented, it is still very good, certainly worth checking out, just be forewarned about that one unworthy track. Best tracks: GPS Vultures, In the Dead of Night. Weak track: The Lady Tied To a Lamp Post. 3.5ó.   

BB’s Rating scale:

1ó – Terrible, torturous to have to listen to

1.5ó - Poor, not worth your time

2 ó – Fair, maybe a couple half-way decent songs, but sub-par overall

2.5ó – Average, OK, meh, not bad but not that good either

3ó – Good, solid album, several good songs, but not spectacular. Certainly worthy, but may not be something you come back to very often

3.5ó – Very good album. Some stellar tracks, very enjoyable overall

4ó – Great album, filled with great songs, one that you will want to come back to over and over again

4.5ó – Excellent album, beyond great, superb in every way, just short of a masterpiece 

5ó – A Masterpiece, among the greatest albums of its type, and has stood the test of time

That's it for now. Lots of great stuff out there. Will update with more as they come in. So, what did you think of any of these albums? What albums from this summer have been your favorites and worthy of many repeated listens?